The Tiffen Steadicam systems

By Jerry Holway

Review contents:
Stability is over all 35 kg of pleasure Steadicam from fragments German steadicams from ABC Products Devices of Cinema Technologies Group DvRigPRO from DVTEC Glidecam stabilizers Sachtler Artemis camera stabilization systems: from DV up to HD The Tiffen Steadicam systems

As a professional Steadicam operator for over 22 years, I have loved the unique capabilities and the look of Steadicam shots. In those 22 years, a lot of the technology we use has changed, and things will keep changing with the increasing use of HD cameras, more advanced film cameras, better LCD monitors, and the like. Steadicam technology has also changed and improved, making it easier to get the old shots, and opening up opportunities for new shots. So many great operators around the world have shown us all what it possible — it’s simply amazing what precision and creativity are possible with this simple tool.

I’ve been lucky to live close to the Steadicam’s inventor, Garrett Brown, and to watch and learn from him about operating and about the physics and design of the machines. Back in 1999, the two of us invented the Ultra Steadicam, the most advanced stabilizing system in the world. I’ll go into some detail about the Ultra’s features later in this article.

But first I want to stress that I am most interested in operating. I want to be able to use my Steadicam as an instrument in the service of the story, and I want the most versatile, reliable, and easy to use instrument possible.

I want to concentrate on moving the camera, whether it moves slowly and elegantly, or faster and more roughly than a handheld camera. It’s the ever-expanding repertoire of “voices” or modalities that keeps me interested in Steadicam operating, and that the Steadicam instantly speaks all these languages though my fingers.

Now to some gear

The Tiffen Company makes the Steadicam camera stabilization systems.

They manufacture five professional models: the tiny, handheld JR, the lightweight Flyer, the Provid, The Clipper and Vector series, and the Ultra series Steadicams.

The JR

The JR, with its patented inter-gimbal handle, was the first of the small handheld stabilizers in the world, and it is still the best one made. The original was designed with dynamic balance in mind — a subject still misunderstood by many. They’ve recently introduced a new and less expensive JR model without a monitor, as many of the new camcorders have adequate built-in viewing screens.

The Flyer

Steadicam Flyer

Professional cameras are getting smaller and smaller. Operators who own and use these cameras need a Steadicam that is lightweight and inexpensive, but performs as well as the “big” machines. The Steadicam Flyer answers these needs. It is the first light Steadicam with a truly professional arm.

This remarkable arm performs just like the top of the line Ultra arm, lifting cameras of four to fifteen pounds. (1.8 to 6.8kg). It also has an astounding thirty inch boom range, and the elegant iso-elastic performance of the arm is virtually the same regardless of the weight it is carrying: always smooth, free, and effortless to boom up or down.

The arm also a fully adjustable connection to the vest, just like the bigger Steadicams. The Flyer arm won The Digital Video Professional Association best of show award at the 2004 NAB convention is Las Vegas.

In addition, the Flyer’s color monitor is simply astonishing: NTSC/PAL, 16×9, 7" diagonal, and extremely bright, fully usable in bright sunlight. The vest is adjustable to almost any size operator, and the system is so light, it can be worn for hours, and it’s fun to do so.

The ProVid

The Provid line of Steadicams is designed mainly for video and 16mm film applications, and it is also an excellent system to be used with lightweight 35mm film cameras such as the Aaton 35 III. The ProVid line has models to carry cameras from nine to twenty six pounds.

The ProVidHD is the newest model, with HD capability and the HD UltraBrite monitor as part of the system. Other models in the line are the original ProVid, the Provid 2, and the Provid 2+.

The Provid line gives operators who carry lighter weight cameras many choices of features, including different arms and vests, so that the system can be tailor made to the operator’s needs and budget.

The Clipper and The Vector

Clipper stabilizer	Steadicam Vector

The Clipper and Vector Steadicams also were introduced at NAB 2004. They are designed to fill the gap between the full-featured Ultra and the various ProVid models. The Clipper and Vector share much of the Ultra’s body and posts, but lack the tilt head and have either a two or a three section telescoping post. HD versions are available as well.

Arms and vests from the ProVid or the Ultra line can be used with the sleds, and all accessories for the Ultra can be used with the Clipper and Vector models. Batteries can be either 14.4 or 28.8 volts, available from a variety of manufacturers.

The Ultra

As one of the inventors of the Ultra system, and as a professional Steadicam operator working on feature films and commercials, I personally know a lot about the Ultra Steadicam. Several features set the Ultra apart from all other systems. These include the motorized stage, integral tilt head, integral superpost, 1400 nit HD UltraBrite monitor, expandable monitor and battery positions, 28.8 volt battery system, iso-elastic arm, advanced horizon display, dovetail base, dynamic balance calculator, and our advanced vest.

We also make all of our adjustments tool-free, so that changes can be made quickly and easily under real-world conditions. The Ultra sled, vest, and arm all work together to configure the Steadicam to the best possible advantage for each shot.

The motorized stage

Garrett Brown, the inventor of the Steadicam, has often said that operating a Steadicam without a motorized stage is like flying an airplane and landing to change the trim controls.

The most precise balance is accomplished by adjusting the Steadicam’s balance as your needs change. The Ultra is the only Steadicam that operators can trim on the fly, as they are shooting.

It is also much faster and less obtrusive to trim the sled via remote control. An operator that constantly fusses with his gear can be quite distracting to an actor. An operator with an Ultra can be just as precise and fussy as he needs to be, without distracting others or calling attention to himself.

The integral tilt head

A little understood and exclusive feature of the Ultra is the integral tilt head. The head maximizes the use of the telescoping post, preserves dynamic balance in both regular and long modes, helps with clearance, reach, or viewing problems, and enables whip pans with the lens angled as much as twenty degrees up or down.

Tilt head of the Ultra stabilizer

The low profile tilt head will really change the way you operate. Not only does the tilt head make long mode operating practical, it makes all operating easier and more precise. Nominally, it tilts plus or minus 20 degrees from horizontal. With a small wrench and an extra minute, it can be made to tilt about thirty-three degrees downwards (or upwards in low mode).

Operators have known since 1988 that the Steadicam behaves better when in dynamic balance and that dynamic balance can exist only when the post is vertical. Yet with other stabilizing devices, much of the benefit of getting the rig into dynamic balance is wasted when the operator alters the trim of the rig as little as a two or three degrees. For almost every shot, operators trim for headroom and go out of dynamic balance — unless they have the tilt head.

If there’s an operator out there who doesn’t believe how critical the tilt head is for precise operating, I suggest you try spin balancing their sled into dynamic balance as perfectly as you can, and then alter the trim a few degrees. Spin it again, watch the rig wobble, and you will know exactly how important the tilt head is for precise operating.

One important aspect of the tilt head’s design is that the center of rotation of the head is close to the c.g. of most cameras, which minimizes static and dynamic rebalancing when altering the degree of tilt. By comparison, using a wedge plate accessory to tilt the camera would so radically move the c.g. fore and aft that the camera would have to be moved on the on the dovetail, which, of course, is not practical on the set.

How do you set the tilt head angle? Based on the shot requirements, the operator first determines the proper length of sled, optimal monitor viewing position, inertia, and lens height. Then the operator adjusts the nominal pre-tilt angle with the head. The operator sets this tilt angle by releasing two clamps and manually repositioning the camera. The post remains vertical and the rig stays in dynamic balance.

The first time I used a “superpost” on a Steadicam, I realized how limited and impractical a tool it was without a tilt head. I was working in a diner, behind the counter, and I couldn’t tilt down: the bottom end started hitting a lot of things.

I quickly learned that panning with the lens angled up or down was exceedingly difficult or impossible, due to the large spatial translations of the battery, monitor, and camera. It was clear an integral tilt head was needed to eliminate this spatial translation. Now, long mode pans are completely routine and precise.

While using the tilt head is clearly important in long mode configurations, when the nominal tilt might be in the order of 15 degrees downwards, normal Steadicam operating — with the post compressed — also benefits greatly. Even if the Steadicam is somewhat out of dynamic balance, it’s a whole lot easier to hold the post vertical than at any other angle. The Ultra’s tilt head keeps the post vertical in most situations, making it easier to operate and keep things level.

The camera is placed at the highest point

Previously, all whip pans had to be done with the post vertical, the lens horizontal, and the rig in dynamic balance. Now the lens can be angled up or down as much as twenty degrees and the operator can still make extremely precise, fast pans.

Integral telescoping post

The four-section carbon fiber telescoping post can quickly extend the sled from 28 to 72 inches. Extending the post increases the lens to gimbal distance, dramatically increases tilt and roll inertia, and alters the clearance of the sled to objects in the set. An integral telescoping post also makes it possible to balance very heavy cameras without adding even more weight to the base of the sled.

The lightweight posts are always available — no parts to swap out, no tools required. Changing the sled to any length, even to superpost modes, is extremely fast and easy. With a little help from an assistant, getting to any mode can be done in under a minute.

Just how high or low a lens height can you get with the Ultra? As a rough estimate, in high mode you should be able to get a lens height of about 7.5 feet. If you are using a light camera, a lens height of 8.5 to 9.5 feet is not impossible. In low mode, the camera can scrape the ground.

Camera weight and lens height: These are the facts of life: Elementary physics (i.e. a balance equation) tells us that if you use a heavy camera, you will not gain a lot of additional lens height via telescoping the post. Using a BL IV or similar very heavy camera will be frustrating. If you want to get a really high lens height, use the lightest camera you can get your hands on.

HD UltraBrite monitor

HD UltraBrite monitor

Over four years ago, Tiffen introduced the first LCD monitor that was big enough and bright enough to be used outdoors. We’ve been improving the technology ever since. Our current 8.4" monitor is the brightest on the market (1400 nits), has a proper anti-reflection coating, and is HD compatible. Operators can now compose in color, and the huge screen — for perhaps the first time — makes it feel like one is operating for a movie.

The monitor face can be angled more than 120 degrees, making viewing easy in any configuration. The monitor tilts (and flips for low mode) on its c.g. — so that adjusting the monitor does not affect the static or dynamic balance of the rig.

Inertial Control system

Due to the system’s inertia tilting is harder to perform than panning

Both the monitor and the battery are supported by dual carbon fiber rod and bracket systems, which are extremely rigid and provide a greater range of extension than ever before. The operator has a much greater control of the sled’s inertia and dynamic balance, as well as increased flexibility in viewing the image.

The sled’s inertia can now be changed dramatically — to help get the shot in windy conditions, or to fit with the type of camera used, or to help get the quality of movement one needs. The sled can be very inert, slow, and elegant, (great for architecture, for instance) or it can be very quick and nimble, almost handheld (great for fight scenes, but without those annoying bounces and shakes).

Battery system

The Ultra’s high capacity and lightweight 28.8 volt NiCad battery was carefully selected for real world needs. The Ultra’s single battery easily drives an Arri 435ES at 150 fps, even near the end of its charge. A single battery requires fewer chargers than a sled with multiple batteries, and is it easy for assistants keep the batteries charged. 100 watt, 14 volt power is provided though an efficient DC to DC converter.

Stiffening system

The Ultra is the only Steadicam to sport an innovative stiffening system. It creates extra rigidity whenever violent moves, a rough ride, or a very long post configuration requires some help. This lightweight, unobtrusive system can be installed on the sled in under a minute.

Dynamic Balance Computer

The Ultra’s Palm Pilot computer contains a customized dynamic balance program that is specifically tuned to the sled. This computer — and the design of the Ultra — work together to make finding and preserving dynamic balance easy.

Integral dovetail base

A special version of the standard dovetail forms the bottom of the sled. This integral dovetail bolts directly to the main clamp at the base of the telescoping post.

This solid structural arrangement facilitates the fast and extremely rigid mounting of accessories such as gyros, Antlers, or special batteries.

The Iso-Elastic arm

The Ultra’s Iso-Elastic arm, with improved bearings, has a “camera payload” of 20 to 45 pounds (9.1 — 20.5kg). “Iso-elastic” is a term we use to describe the lack of additional force required to boom the sled all the way up or down. With an iso-elastic arm, the arm, and not the operator, is doing the proper lifting throughout its boom range.

Older arm designs, especially at the lower end of their weight capacity, go way out of their design forms and require a lot of extra effort from the operator to boom up or down. Before the advent of the iso-elastic arm, I used to have a sore shoulder at the end of the day from all the lifting and pushing. No more. (And what a joy to have the new Flyer Iso-elastic arm, less work and lighter cameras! I’ll be shooting when I’m ninety, maybe ninety five!!)

The boom range is about 25 inches, and the weight carrying adjustment is tool free. The operator can easily change the lifting capacity of the arm while wearing it, precisely adjusting the lift for each shot or lens change.

The arm also has a unique, tool-free quick-change system for arm posts, so the operator can quickly adjust the range of camera heights.

The Ultra Vest

The last thing I want to mention is the Ultra Vest, which has undergone many revisions and small and large improvements over the years. This is not your grandfather’s vest!

One major change has been the connection between the front “spar” and the shoulder straps. The attachment point has been raised and the flexing eliminated. This feature, combined with two “cross-back” straps, creates a much more positive connection between the operator and the vest. The result is more control for less effort, no slipping of the vest around the operator, and much less fatigue.

The vest to operator connection is so secure, that for the first time I have felt really comfortable running at full speed with a Steadicam. And the running shots look decent, as I can retain adequate control of the sled. Previously, the vests just moved too much.

Other evidence of the vest’s successful design has been in our workshops. Students used to have a difficult time getting and keeping their vests adjusted — they had not yet learned the trick we old-timers used to keep the vests straight. With the new vest, the problem has disappeared, and there are fewer complaints of fatigue.

The Tiffen Steadicam

The Tiffen Company has been manufacturing Steadicams for over four years now, taking over the operation from Cinema Products, the original manufacturer of the Steadicam.

They have made many improvements to older models, improved quality, and have created several new products. They have just moved into a new, modern manufacturing and technology center in Glendale, California. The company is committed to making the most advanced Steadicams, and to making great performing, truly professional machines, whether the operator is carrying a 35mm film camera, a video camera, or a tiny camcorder.

Material provided by Tiffen Company