1. Glidecam - Cine Gear LA 2014

    01:38

    from ProductionHUB / Added

    An interview from the 2014 Cine Gear LA Expo at Paramount Studios with Tom Howie of Glidecam Industries. Glidecam Industries offers a wide variety of camera stabilizers (camera stabilization systems) for use with motion picture cameras, video cameras, action cameras and cellphones. These hand-held and body-mounted camera stabilizers create super smooth shots, and allow the operator to walk, run, go up and down stairs, shoot from moving vehicles, and travel over uneven terrain without any camera instability or shake. In this interview Tom talks with us about a few Glidecam products including the HD 2000, the X-20 & X-30 Full Body Stabilization Unit, and the VistaTrack 10-48 Slider. The Glidecam X System works by isolating your body's motion from your camera, while your camera is balanced in a relatively motionless and isolated state. The Support Arm can be boomed up and down, as well as pivoted in and out, and side-to-side. By combining low friction booming and the pivoting action of the Support Arm, which isolates your body’s motions from the camera, you are immediately enabled to create super smooth moving camera footage. These full body mounted units are offered in multiple varieties to support a wide range of camera weight classes. The Glidecam X-20 is a professional body-mounted camera stabilization system designed for cameras weighing from 10 to 20 pounds. The Glidecam X-20 system incorporates advanced engineering and precision machining, making it the most sophisticated system in it's price range. The Glidecam X-30 is a highly advanced, professional camera stabilization system designed for film and video cameras weighing from 15 to 30 pounds. The X-30 System incorporates advanced engineering and precision machining, making it the most sophisticated and versatile system in its price range. The Glidecam HD-2000 features an offset, foam cushioned, Handle Grip which is attached to a free floating, three axis Gimbal. This allows your hand to move up and down, and side-to-side, thereby isolating your hand’s unwanted motions from the camera. This up and down movement alleviates the bouncing, pogo type action often associated with competitor systems because their handle cannot move up and down. This design feature, coupled with the overall higher inertia of the HD-Series systems, produces superior stabilization performance. The Glidecam VistaTrack 10-48 is a combined, miniature Linear Track and Dolly System. The 10-48 slider can be used with cameras weighing up to 10 pounds when attached to a single tripod or when using it's integrated adjustable legs. Additionally, for added stability it can be configured for use with cameras weighing up to 30 pounds when attached to two tripods. The VistaTrack 10-48 has a 48" long track, and is also available in 24" and 36" lengths. The VistaTrack 10-36 has a 36" long track, and the VistaTrack 10-24 has a 24" long track For more information about Glidecam and all of its products please visit: www.glidecam.com - See more at: http://www.productionhub.com/video/36321/glidecam-cine-gear-la-2014#sthash.H4MfnUc5.dpuf

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    • Glidecam HD 2000 Balance Review From Tom Howie of Glidecam Industries

      04:16

      from jared abrams / Added

      954 Plays / / 1 Comment

      Here is a little how to video, from a man who knows his business. Tom Howie is one of the top guns at Glidecam Industries. He shows us how to properly balance a Glidecam HD 2000 rig with a Canon 5D Mark II and Tokina 11-16mm Zoom Lens. A Huge Thank You to Tom for taking the time to hook this little instructional video up. Dig it!

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      • Setting up and using the Glidecam HD2000 Part 2: Vertical Balance

        13:02

        from Ric Kasnoff / Added

        10.2K Plays / / 5 Comments

        OK...on to part 2 where Tom continues his detailed explanation of the best way to setup the Glidecam HD2000's vertical balance. In this section he covers counterweights, wing extension, the role of the telescoping post and more. Same setup as part #1: Nikon D7000, Genustech rig, Singular Softwares Dualeyes

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        • Setting up and using the Glidecam HD2000: Part 1

          13:08

          from Ric Kasnoff / Added

          27.9K Plays / / 15 Comments

          Had a chance to interview Tom Howie, VP of Sales and Marketing for Glidecam at NAB last month and he was gracious enough to share, in great detail, the proper way to set-up and fine tune the Glidecam HD 2000 (or any Glidecam HD) during the interview. During the process he candidly answers questions that I've seen floating around the forums relating to the use of not only the Glidecam products but all similar devices. Here's a (very ;-) rough cut of the part of the interview that directly relates to setting up, fine tuning and actually using any of the Glidecam HD units. After the setup instruction he shares some interesting tips and exercises to help us get ready to shoot successfully with the rigs. I cut a lot out and split it into 3 parts but it's still 38 mins long (total) so grab a cup of coffee and settle back for an in depth look at the proper way to set up and start using the Glidecams according to Tom and Glidecam.. btw: Schy Gleason, our cameraman on the interview had to shoot from out in the aisle at NAB which as you might guess is not an optimum place to be at anytime. So please excuse any bounces or sudden position/focus shifts as he was constantly struggling for space. Shot in available light at ISO 640 on a Nikon D7000, GenusTech shoulder rig and Bravo follow focus. Recorded on Zoom H4N and painlessly synched with Dualeyes (Thank you Singular that was a lot of pieces to sync ;-).

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          • Nineteen

            15:26

            from Peter Woodbridge / Added

            153 Plays / / 0 Comments

            This is the first short film that I wrote, produced and directed- along with Tom Howie. It was back in 2003/4. It's meant to be a coming of age story about a awkward guy on his nineteenth birthday. We were trying to capture some of the nuances and anxieties around youth masculinity on a issue that was very close to our lives at that time. Making it was a real emotional journey, in more ways than one. In terms of inspiration we spent a lot of time looking at the Dogme '95 movement and British Kitchen Sink/Social Realism. We also drew some ideas from 'new' directors emerging in the early 21st Century (such as Brian Percival and Shane Meadows). We realise that it's full of mistakes- technically, creatively and theoretically. The sound could certainly do with some work, although admittedly we knew fuck all about anything like that at the time. As the writer, I now feel that it shows off my naivety at the age of 20-21 and parts of it really do make me cringe. But then other parts of me know that if I made it now it would be an entirely different film. So maybe that naivety is part of what makes it what it is. But hopefully it's still enjoyable and it would be great to know your thoughts...

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