The Tiffen Company, LLC90 Oser Avenue

Hauppauge, New York 11788631 273-2500800 645-2522

631 273-2557 faxwww.steadicam.com

ltraS E R I E SU tm

manual version 4.21.02 ©2002 J. Holway / The Tiffen Company, LLC

®

Operating Manual

Table of Contents

2

Overview 3

The Ultra Sled 4Electronics 5Connector Pinouts and Control Panel 6

The Vest 7The Isoelastic Arm 8

Supplied Accessories 9Cases and Packing 10

Basic Set UpFitting the Vest 11Attaching the Camera 12 – 13Static Balancing 14 – 15Posts and Clamps 16Arm Adjustments 17

Arm Posts – High Mode 18Arm Posts – Low Mode 19Arm Lift Angle 20Monitor Adjustments 21Electronic Adjustments 22

Advanced TechniquesStage Motor Control 23Dynamic Balancing 24 – 25The Dynamic Balance Computer 26 – 27Inertial Control 28The Tilt Head 29

General Operating 30Maintaining Lens Height 31Other Applications 32

Lens Height 33 – 35High Mode Chart 36Low Mode Chart 37Camera Weight and the Facts of Life 38

Low Mode 39 – 41Long Mode 42 – 43Stiffening System 44

Maintenance 45

Most of this manual is written for experienced Steadicam operators.If you are new to Steadicam operating, or you have never taken an intensive Steadicam workshop,

we strongly urge you to take one of our five or six day workshops.For more information on professional workshops worldwide,

contact The Tiffen Company or the Steadicam Operators Association.

Overview

3

The Tiffen Company takes great pridein producing the world's mostadvanced Steadicam®, the Ultra™.We are committed to excellence andinnovation, and the Ultra is a systemthat can and will grow with you.

Each component of the Ultra iscarefully designed so the operator caneasily configure the Steadicam to thebest possible advantage for each shot.

All adjustments are tool free, so thatthe features can be used under real-life, fast-paced conditions.

The Ultra's modular design makesthe sled easily modified, serviced, andupgraded.

Perhaps the most obvious new featureis the four section, carbon fibertelescoping post.

With these posts, the operator canquickly extend the sled from 28 to 72inches – or anything in between – forultra high or ultra low mode shooting.

The integral tilt head maximizes theusefulness of the telescoping post. Itworks to preserve dynamic balance inboth regular and long modes, and ithelps with clearance, reach, orviewing problems. With the tilt head,the operator can even execute precisewhip pans with the lens angled up ordown as much as 20 degrees.

Both the monitor and the battery aresupported by bracket systems withdual carbon fiber rods. Thesesystems are extremely rigid andprovide a greater range of extensionthan ever before. The operator hasmuch greater control of the sled’sinertia as well as increased flexibilityin viewing the image.

The Ultra’s 55 watt hour, highcapacity and lightweight 28.8 voltNiCad battery pack provides plentyof power for the sled and today'spower hungry 35mm cameras.

The new stage motor transmitterand receiver increases the precisionof every shot. The Ultra is the onlysled in the world that can be trimmedwhile shooting.

The innovative stiffening systemcreates extra rigidity whenever violentmoves, a rough ride, or a very longpost configuration requires some help.The lightweight and unobtrusivespreader and stays system can beinstalled in less than a minute.

The Palm Pilot® Dynamic BalanceComputer contains a customizedprogram that is specifically tuned tothe Ultra sled. This computer - andthe design of the Ultra - work togetherto make finding and preservingdynamic balance simple and fast.

The improved isoelastic arm is a joyto use. Very little effort is required toboom all the way up or down and thesled is much less reactive to verticalchanges or vibrations.

No additional accessories orduplicate parts are required for anyconfiguration. All the features areintegral to the design, ready to beused when you need them.

Quite simply, the Ultra is the mostversatile and the most user-friendlySteadicam ever made.

The Ultra Sled

4

Gimbal clamp

Receiver antenna

High Intensity Monitor(5" CRT shown)

Electronics module

Battery release

Battery

Side to side adjustment knobs

Camera mounting platform

Docking ringPost #2 - carries gimbal

Tilt head & clamps (2)Post #1 - connected to tilt head

Transmitter for motorized stage(removable)

Gimbal

Post clamp

Fore /aft adjustment knobs

Post clamp

Post # 3 - carries monitorMonitorflip clamp

Monitor bracket

Monitor height clamp

Post clamp

Monitor rodsMonitor extension clamps (4)

Accessory dovetail

Monitor arcs

Battery rods

Integral dovetail base

Stage electronics

Battery charge indicators

Battery rod clamps

Monitor arcs clamp

Post #4 - carries electronics module & battery

Control panels

5

Circuit breaker

OnStandby

Off

Monitor controls

Dual 13.2 and 28.8 volt power jacksHRS 12 volt power and video out jack

Camera Mounting Stage

Stage motor speed control knobs

13.2 or 28.8 volt power jack for focus motorsBNC video in

HRS 12 volt power and video in jack

Electronics adjustment knob

Electronics function selector

Image flip and invert(slide cover when off to reveal switches)

Vertical gain (pull to engage)

Brightness & Contrast

Side to side reversing switch(for low mode)

13.2 and 28.8 volt accessory jack

Ultra Electronics

Connector Pinouts and Control Panel

6

Stage Electronics: Front

12 VDC / Video Out Jack (J9): 4 Pin HirosePin 1: GroundPin 2: Video groundPin 3: Video outPin 4: + 12 VDC regulated, 1 amp maxVideo in Jack (J8): BNC

Receiver Power Jack (J7): 3 Pin LemoPin 1: GroundPin 2: + 13.2 VDCPin 3: + Battery (28.8 VDC)

12 VDC / Video In Jack (J6): 4 Pin HirosePin 1: GroundPin 2: Video groundPin 3: Video inPin 4: + 12 VDC regulated, 1 amp max

Ultra Front Panel

12 VDC / Video Out Jack (J6): 4 Pin HirosePin 1: GroundPin 2: Video groundPin 3: Video outPin 4: + 13.2 VDC

Main power switch ( SW4)

VCR

CAM

LEVELTRIM

R

L

LEVEL

VIDIN/OUT6 VDC

VID OUT

12 VDC/

O

IPWR

MON

Horizon Display Switch (SW2)Left/Right Inversion

Horizon Display Pot (PT1)Level Adjustment

Ground

Monitor Mating Jack (J7): 6 Pin HirosePin 1: GroundPin 2: Video groundPin 3: Monitor videoPin 4: + 13.2 VDCPin 5: + Battery (28.8 VDC)Pin 6: Ground

3 2

4

2

1

3

1

1

2 1

23

Stage Electronics: Rear

RCA Video In/Out Jack (J4) CAM: Video out VCR: Video in

1

2

4

3

Camera/VCR Mode Switch (SW3)

CAM: Either stage input displayed on monitorVCR: RCA jack input displayed on monitor

16

25

34

4 1

2

3

3

+ 4.5 to 7.5 VDC out

+ 6 VDC Barrel Jack (J5)(2 amps max)

Camera Power Jacks (J4 and J5): 3 pin LemoPin 1: GroundPin 2: + 13.2 VDCPin 3: + Battery (28.8 VDC)

7

The Ultra Vest

Shoulder pads

Chest pads

Emergency release handle

Adjustable spar

Adjustable bucklesChest straps

New style shoulder connector

Titanium socket block

Lower back pads

Hip pads

Cross back straps

Emergencyrelease line

Socket block height adjustment

The vest must be properlyadjusted for the emergencyrelease system to work.

Note that the emergency releaseline is tightened and that bothback straps are disconnected.

The Isoelastic Arm

8

Isoelastic adjustment screw

Arm post

Double action hinge

Rod Ends

Titanium Socket

Quick release pin

Weight adjustment knob

Bottom arm section

Weight adjustment knob

Forearm section

Tool free post holder

Adjusting the side to side arm lift.The arm is not lifting a load.

Supplied Accessories

9

Arm posts: 12", 5", and 3.5"

Dynamic Balance Computer

Stabilizing system:Carbon fiber spreaders andVectran™ line

Long and short camera mounting dovetails

Slanted F-bracket

F-bracket(old style)

Monitor hoods for the 5" CRT or the 8.4" LCD

Docking bracket

28.8 VDCBatteries (4)

Video and power cables(not all shown)

Spares Kit: (not shown!!)Tape measure, 1/4-20 and 3/-16camera screws, monitor fuse, LowMode gimbal screw hex driver, vestrachet handles, mounting hardware,battery for stage remote control.

Battery charger andbattery connector

Cases & packing

10

Tip:

When removing the sled from thecase, be sure to support the monitorby grabbing the rods, as shown.

When repacking the sled into thecase, be sure that the sled length andthe monitor's angle and extension areproperly set so that the sled dropsfreely into place.

Many operators cut the foam toaccommodate accessories kept on thesled - such as a focus motor receiveror a small VCR. A long, thin razorblade works fairly well to cut thefoam, as does a serrated knife.

The vest and sled cases have wheelsand a retractable handle.

A soft vest bag is provided, but it isnot recommended for shipping.

Many other accessories are shipped inbattery case.

Most operators have several othercases for their accessories, tools, lowmode brackets, video recorders, videotransmitters, diversity receivers,remote focus equipment, etc.

Fitting the Vest

11

The vest is the major connectionbetween your body and theSteadicam.

It must be adjusted properly andfeel good on your body.

The vest is not intended to be astraightjacket. You should be ableto move and breathe easily.

The socket block for the armshould move with you and not shiftunder load.

The overall length should beadjusted so that lifting your legswhile taking a step up doesn’tdisturb the vest. The hip padsshould comfortably grab your hips.

Start at the top.

Lastly, snug up the rear cross straps.This will prevent the vest fromslipping as well as reduce sideloading.

Tip:

While wearing the vest andresting between takes,release the vest straps toincrease blood flow andease tension in yourmuscles.

Note:

A few operators havebody shapes or sizes thatare out of the generalrange of adjustments.

You may find you have toadd or remove padding,shorten or extend straps,etc. to make the vest fitperfectly.

Available options: a shortvest, and longer chest, hip,and cross back straps.

Be sure the shoulder pads are firmlydown on your shoulders.

The chest pads are snugged up next.

You should be able to breathe a little,but the vest should not be able to slipforward and down. Diaphragmaticbreathing (like a baby) works best.

Push the vest down on your shoul-ders again, be sure the spar isvertical, then snug up the hip pads. Ifthe hip pads are tightened first, thevest will tend to ride high untilloaded, and then it will slip aroundunder load.

12

Long and short dovetails.

Attaching the Camera

Finding the camera's side toside center of gravity.

Finding the camera's fore-aft center of gravity.

Camera c.g. .75" behind center post –fore-aft.

Camera c.g. centered over post – sideto side.

Tip:

If you add your focusmotors at this point,remark the camera c.g.If the side-to-sideposition drasticallychanges, you may haveto reposition thedovetail plate on thecamera.

First, center the side-to-side andfore-aft adjustments of the cameramounting platform, using the knobs orthe remote controlled motors.

Attach all the accessories to thecamera, including lenses, loaded filmmagazines, focus motors, obie lights,transmitters, etc. Don't worry toomuch if you must add your motors orother accessories after you haveattached the dovetail plate.

Using a rod or pencil, find the c.g. ofthe camera, both fore-aft and side-to-side. Temporarily mark this withpieces of tape.

Attach the long dovetail plate to thebottom of the camera, centered asclosely as possible under the camera'sc.g. Use two screws to keep thecamera from rotating.

If possible, attach a second dovetail(perhaps the short dovetail) to the topof the camera, directly above the firstone. This may require additionalhardware, such as a special low modebracket for your camera.

The basic idea: Position thecamera's center of gravityabout .75 inch behind thecenterline of the post fore-aft(as seen from the side) anddirectly over the centerlineof the post side-to-side (asseen from the front or rear).

13

Dovetail locked into place.Place the camera above the cameramounting platform. Be sure thelocking lever is fully open.

Angle the left edge of the dovetailinto the holder. Be sure to keepeverything parallel. Lower the rightside into the holder.

If the camera won't drop fully intoplace, be sure the left side of thedovetail is fully inserted, all isparallel, and the locking lever is fullyopen. It's a close fit.

After the dovetail drops into place,close the locking lever half way andslide the camera until the fore-aft c.g.mark is about .75 inches behind thecenterline of the telescoping posts.

Post #2 is 1.580 in diameter, so youcan use the back of the post as a guidefor placing the camera c.g.

Push the locking lever forward tofully lock the camera into place.

You are now ready to static balancethe sled.

The dovetail locking lever has threepositions:

All the way back is fully open and thedovetail can be inserted or released.

At the half way or 90 degree position,the dovetail can slide back and forthfor gross positioning of the camera,but it cannot be released. All the wayforward is the locked position.

Sliding the camera with the locking lever at 90 degrees.

With the locking leverin this position, thedovetail can slide butcannot be removed.

Closing the locking lever. Push firmly.

Dovetail locking lever fully open.

How the dovetail drops into place.

Static Balancing

14

The Steadicam sled should becarefully balanced to help theoperator get the shot.

The Ultra is the first Steadicam withfull and easy control over static,dynamic, and inertial balance.

Before balancing, the sled shouldhave the camera and battery attached,all cables secured, and all accessorieson board.

The gimbal should be near the top ofpost number two.

Release the two rod clamps at thebase of the sled and pull out thebattery three or four inches. Retightenthe battery rod clamps.

If you know it's going to be an ultrahigh mode shot, low mode, or youneed extra inertia, etc., extend theposts and position the monitor and thetilt head as best you can before youstatic balance the sled.

However, in all cases, place thecamera c.g. about .75 inch behind thecenterline of the telescoping posts.

The posts and themonitor bracketshould all beproperly aligned.Check the indexmarks on the posts.Release the properclamp and rotateany section that isout of alignment.

Do not release the gimbal clamp if itis supporting a vertical sled! Theproper method is shown in the photo.

Tip:

When adjusting the balancefore-aft or side-to-side,moving any weight "uphill" makes the sled hangmore vertically.

Release the monitor rod clampsclosest to the centerpost and pull outthe monitor so that the dual supportrods clear the center post. Re-lock theclamp. The 8.4 inch LCD monitor and12 inch rods are shown in the photo.

An alternative solution (tip two):Raise the c.g. of the sled – andtherefore the gimbal – by raising postnumber one (see photo above). Thismakes the whole sled a little longerand raises the lens height slightly.Either way, the gimbal moves awayfrom the electronics module.

Two Too Light Camera Tips:

With a fully compressed sled and avery light camera, the gimbal can getvery low, causing the arm to hit theelectronics module. You can raise thegimbal by raising post three (and theattached monitor) while leaving thesled length the same.

Tip one: Release the clamps at the topof posts three and four and slide postthree up to the gimbal.

Lock post three in place, and thenlock post four to maintain the minimalsled length. Rebalance top-to-bottom.

15

When the sled is very bottom heavy, it has a short drop time and itwill require bigger movements of a weight to properly balance thesled.

When the sled is nearly neutrally balanced top to bottom, veryslight movements of the camera or battery will have a large effecton balance.

The sled will behave differently depending on how bottom heavy itis.

A different drop time is required for long mode shooting. See pages42-43 for details.

For normal operating:

Mount the gimbal on the balancing stud. It's agood idea at this point to have an assistant holdthe C-stand.

You need to balance the sled in all three axes:fore-aft, side to side, and top to bottom.

Pick the most out of balance axis and get thatclose to being in balance, then work on anotheraxis. You may have to go back to tweak thebalance in any given axis several times.

To adjust top-to-bottom balance, tilt the sleduntil it is horizontal.

Hold the sled firmly and release the gimbalclamp. Slide the gimbal until the sled hangshorizontally - but never allow the sled to movefrom horizontal with the gimbal clamp open.

Slide the gimbal up towards the camera about.5 inch and lock the gimbal.

Let the sled rotate (drop) through vertical andnote the time. A two second drop time is a goodstarting point. Raise or lower the gimbal slightlyto get a faster or slower drop time.

Keep the camera c.g. about .75 inches behind thecenterpost and move the battery in or out to getclose to fore-aft balance. Fine tune fore-aftbalance with the knobs on the stage.

To adjust the side-to-side balance, use the knobson the camera mounting stage.

A Really Fast Balancing Tip:

To speed up the process of side-to-side and fore-aftbalancing, hold the sled vertical with youroperating hand on the gimbal. Hold the gimbalthe same way you would do while operating (see thephoto above).

Hold the sled absolutely vertical as you adjustthe side-to-side or fore/aft balance.

Turn the adjustment knobs with your other hand (oruse the stage motor transmitter) until you feel nopressure on your operating hand, and the sled willbe in static balance.