Steadicam ARCHER2 Operating Manual

2

Archer

Operating

Manual

Archer2 Operating Manual

v. 10/31/09

p/n LIT-305000

STEADICAM ARCHER

2

Copyright The Tiffen Company 2009

All rights reserved.

Table of Contents

Overview 5

The Archer 2 Sled 6 – 7

The Stage 8 – 9

The Tilt Head 10 –11

Smart Motorized Stage 12 –15

Monitors 16

The G-40 Arm 17

The LX Vest 18 – 19

Sled Base Connections 20

Posts and clamps 21

Attaching the Camera 22 – 23

Static Balancing 24 – 25

Dynamic Balancing 26 – 27

Arm Adjustments 28 – 29

Getting Started 30

Goofy Foot 31

Low Mode 32 – 33

Maintenance 34

Supplied Accessories, Cases and Packing 35

This manual is primarily written to inform experienced Steadicam operators about specific features of the
Archer 2 system. While there is some basic information in this manual to get a novice started, we strongly
urge anyone with limited Steadicam experience to take one of our three or six day workshops. For more
information on professional workshops worldwide, contact The Tiffen Company at www.tiffen.com or
www.steadicam.com

STEADICAM, G-40, Archer 2, UltraBrite, are registered trademarks of The Tiffen Company.
Archer 2 Operating Manual p/n LIT-305000 v. 10/31/09

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Overview

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4

Overview

The Tiffen Company takes great pride in producing the Steadicam® Archer2™. We are committed to excellence, innovation and
service, and the Archer
can easily configure the Steadicam to the best possible advantage for each shot.

2

is a system that will evolve with you. Each component of the Archer2 is carefully designed so the operator

Tool free — Our guarantee that all the advanced features can be used under real-world, fast-paced conditions.

Modular design — We designed the Archer

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to be easily modified, upgraded, maintained, and serviced.

The optional, position-sensing, super strong, motorized stage increases the precision and repeatability of every shot.

Stage positioning is smooth and effortless, and operators can trim the sled’s balance while shooting. “Go-to” buttons on the remote
rebalance the sled to pre-determine positions — and return “home” — with just one touch.

The integral tilt head tilts +/– 15º to preserve dynamic balance, to maintain high or low lens height, to help with clearance,

reach, or viewing problems, or to execute precise whip pans with the lens angled up or down.

The new, Wide Dovetail Lock has a broader, more positive grip on the dovetail plate. The handle has a safety stop to prevent

accidental release.

The Archer2 gimbal has been meticulously engineered to provide a smooth precise feel incorporating high precision bearings

and a quick release ergonomically recessed clamp mechanism for fast adjustments.

Two section, carbon fiber telescoping post extends the sled from 23 to 34 inches (58-86cm) — or anywhere in between —

for short to long mode shooting.

The swept-back monitor mount is designed for maximum stiffness, inertial control and viewing options. It has a wider range

of positions, both vertically and horizontally and is uniquely designed to safely fold up for transport or storage.

The Archer2 standard 7 inch LCD monitor is state of the art. It’s a daylight viewable (700 nits)16x9 composite monitor,

with a frame line generator. The optional HDSDI (and composite) monitor is 7”, 16x9, and 400 nits. The optional UltraBrite 2
monitor is 8.4” at an astonishing 1400 nits brightness, with advanced AR coating, and HDSDI, HD component, and analog
composite direct input. Its unique design lets it run cool without a fan.

™

The connector rich sled design incorporates 3x HD quality video feeds from the top stage to sled base to accommodate

RGB or any other video configuration. Main BNC composite video input, 3x 12/24V power connectors, 12V/Video connector
for transmitters, monitor connector and tally connector are some of the other available connectors on the sled.

Structural Dovetail Base — solidly mount gyros, extra batteries, balance weights or other accessories.

Steadicam PowerCube™ dual battery pack provides 220 watt hours and high amperage discharge — plenty of power for

the sled and today’s power hungry 35mm and High Def video cameras. The Archer
single or dual PowerCube or Anton Bauer
control and also uniquely folds up for compact storage or transport.

®

batteries. The new tilting battery mount creates more options for balancing and inertial

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is a 12 and 24V volt system that uses either a

The LX vest is lightweight and ergonomic, working perfectly with the new generation of G-series arms.

The G–40 arm is amazing, lifting from 12 to 40 pounds (5.4 to 18.1kg). This next generation of the G-Series arms provides

a smooth Iso-elastic
transport. With an astounding boom range of 29 inches (74cm), and interchangeable arm post with rotational drag control,
the G-40 arm gets the job done.

All the features are integral to the design; ready to be used when you need them.

The Archer

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™

ride and incorporates a unique quick link mechanism to separate the arm sections for compact storage or

continues our tradition of building the world’s most versatile and user-friendly Steadicams.

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The Archer2

Sled

Fore - aft
adjustment knob

Upper R and B
video connectors

Optional Gimbal
remote

Dovetail locking
mechanism

Optional fore/aft stage motor

Tally sensor level adjustment

Frequency select
switch for optional
motorized stage

Docking mount

Upper post

Gimbal

Gimbal
Handle

Tilting battery mount

Post
Clamp

LCD Monitor

Monitor rod
clamping
mechanism

Monitor Yoke

Battery release

6

Battery rod
clamping mechanism

Sled base

Detail: mounting stage

Dovetail bracket

Tilt head release levers

Lower R and B
video
connectors

Dovetail locking
mechanism

Stage power and
video connectors

HDSDI BNC

14V and 28V
Accy Power
Connector

Detail: folding sled

Battery Unfold/Fold
Procedure:

• While holding the battery mount, rotate

the blue locking knob for the battery
counterclockwise (opposite direction to
“LOCK” marking) until the stop.

Monitor
connector

14V and 28V
Camera Power

Video Out/12V

• The folding procedure for the battery is similar

to the unfold procedure taking note that the rail
tubes should be flush with the sled base when
folded for ease of packing.

Video in

HDSDI BNC

Monitor Unfold/Fold Procedure:

• Rotate the battery mount down and slide

the rail tubes into the guide holes in the
sled base.

• Rotate the blue locking knob clockwise

(same direction as “LOCK”marking) to
secure the tubes in the desired operating
position.

• Loosen the lobed knob below the battery

mount and rotate the battery to the desired
operating position; retighten the knob.

• The monitor fold/unfold procedure is similar to

that of the battery unfold/fold procedure taking
note that the monitor mounting bracket on the
post should be lowered all the way down to base
for ease of packing.

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The Stage

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Stage mechanics and adjustments

The dovetail clamp lever has
three positions: forward and
locked, 90º for adjustments,
and 60º back for mounting
or removing the dovetail
plate. A safety button must
be pushed to move the lever
to the unlocked position; the
same button holds the lever
fully open, making flips to
low mode and back a bit
easier. Do not force the lever
backwards beyond its stop.

The stage is easy to adjust. The knob at the right
rear controls fore and aft, and the two knobs on
the side control side to side movement.

The stage connectors

At the rear of the stage, left to right (port
side to starboard side):

• Camera power connector. 3 pin Lemo,
+28V, +14V, and ground.

• Video out/regulated 12V Power.
4 pin Hirose

• HDSDI video in BNC

• Composite video in base of sled. BNC

Side to side

Fore and aft
adjustment knob

adjustment knob

Note: The Archer2 can be ordered
without a motorized stage, or
with a single motor, or with two
motors. Upgrading to one or two
motors is a simple “plug-and-play”
operation.

Under the stage where the post meets the
tilt head:

• Two SMB connectors for two of the three
RGB lines

At the front (nosebox), left to right:

• Power for focus motor receiver/ampliers.
3 pin Lemo (+28V, +14V, and ground)

• Tally light connector (additional functions
possible)

Nosebox starboard side:

• Pot to adjust Tally sensor sensitivity

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8

Starboard side of
non-motorized
stage shown

Nosebox port side:

• Power and mode LEDs

• Side/Side motor controls

• Fore/Aft motor controls

• Stage centering

• Rotary switch to set remote
channel (0-8)

The Archer2’s optional motorized stage
is position sensing – much like a focus
motor system for a lens. One use of this
feature is to set the stage to the center of
travel, both fore and aft and side to side –
great for initial setups.

Pushing the double pole momentary
switch on the “nosebox” to the “C” side
centers the stage.

Flipping the switch the other way (“L”)
sets the stage to a pre-programmed
position (more about that later.)

The speed and direction of the motors
is set by the switches and thumbwheel
pots on the left (port) side of the nosebox
(S/S & F/A). Note that the motor
direction switches also have a center-off
position, just in case you are in an odd
RF environment or you don’t want your

stage motors to move. Remember this
“function” when a stage motor stops
working between takes!

The electronics in the stage and nosebox
are on “plug and play” circuit boards,
easy to replace if there’s ever a problem.
It’s also easy to access to the inside
of the stage — to clean, add or swap
motors, adjust the bearings, take apart for
servicing, etc.

Port side of
non-motorized
stage shown

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The Tilt Head

The Tilt Head

The integral, low profile head is designed to
alter the lens angle +/-15º from horizontal
with only a minor shift of the camera’s c.g.

The most important use of the tilt head is in
normal operating. Instead of trimming even
two or three degrees for a shot by altering the
Archer2’s balance, use the tilt head to preserve
a perfectly vertical post and keep your sled in
dynamic balance.

Trim for headroom

Without the tilt head, much of the benefit of getting the sled into dynamic balance is wasted
when one alters the trim of the rig. For example, operators routinely trim their sleds for
headroom. This action puts the rig out of both static and dynamic balance.

With the Archer2, the operator determines
the proper length of sled, optimal monitor
viewing position, inertia, and lens height.
Then the operator adjusts the camera to
the nominal tilt angle for the shot.

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Setting the tilt

The operator sets the tilt by releasing the two clamps and manually repositioning the
camera to the proper angle.

The post remains vertical and the rig stays in (or close to) dynamic balance. Only
minor static rebalancing is normally required, but exactly how much depends on the
camera, accessories, sled length, monitor position, etc. In all cases, bringing the sled
back into static balance by moving the camera will return the sled to dynamic balance
as well (see page 28).

The Tilt Head — General
Operating

Even if the Steadicam is slightly out of
perfect dynamic balance, it’s a whole lot
easier to hold the post vertical than at
any other angle, especially when panning
and accelerating - which we tend to do
a lot when operating a Steadicam. The
tilt head keeps the post vertical in many
situations, making it easier to operate and
keep things level.

Another benefit of the tilt head: a whole
new class of whip pans is now possible.
All whip pans are done in dynamic
balance with the post vertical. Previously
this meant that the lens was always
horizontal. With the tilt head, the lens can
be angled up or down as much as fifteen
degrees and the operator can still make
extremely precise fast pans. Using the
tilt head will increase the precision of any
pan with a lens angled up or down – fast
or slow.

Long mode pans with the lens looking
down - say at a crowd - used to be
exceedingly difficult or impossible, due
to the large spatial translations of the
battery, monitor, and camera. But the tilt
head leaves the post vertical and therefore
eliminates this spatial translation, and
makes these pans routine.

Low mode and very low mode pans are
also much easier and more precise.

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Smart

Motorized

Stage

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The motorized stage is important for precise operating

For precise work, the Steadicam must be carefully
balanced or trimmed.

Before operators had a motorized stage, all balancing
had to be done before the shot and therefore the
Steadicam’s balance was fixed throughout the shot.
As well as that works, it was, as Garrett Brown has
often said, “a situation akin to that of an airplane pilot
landing his plane to adjust the flaps.”

With the Archer2s motorized stage, the operator can
continuously adjust the sled’s balance during the shot —
assuring the utmost precision for every moment.

When you push a button to change the Steadicam’s
balance, you maintain your posture, stance, and grip,
so even conventional, pre-shot balancing is quicker
and more accurate.

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Some situations where the motorized
stage really helps:

• Anytime you want to trim precisely and quickly,

whether trimming on the fly, in the middle of a shot,
or holding an opening frame perfectly still.

• In long mode (and sometimes in standard low

mode), it is often difficult or impossible for the
operator to reach the stage to manually adjust
the sled’s balance.

• While shooting from a vehicle, it can be awkward

or even dangerous to balance the Archer2 without
the remote control.

“Go-to” Buttons and the Smart
Motorized Stage

On the remote control, there are three “go-to”
buttons on one side in addition to the four original
“trim” buttons (as well as two other “spare” buttons).

Programming is a snap; it’s just like programming
stations on a car radio. Move the stage to the desired
position, either manually or using the traditional trim
buttons. Then hold one of the go-to buttons down for
three seconds. The green LED will flash twice, and
it’s set. You can even program any button on the fly,
during the shot, if you have the mental reserves...

Each go-to button simultaneously programs the fore
and aft and the side to side position of the stage.
Trimming fore and aft may slightly alter your side to
side balance, or you may want to program in a severe
Dutch angle. You can even program two or three
buttons for the same trim if you like, so you don’t have
to think about which button to push!

The positions are stored in non-volatile memory, so
changing batteries or turning off the sled power does
not erase your presets.

The go-to buttons move the stage to specific marks,
defined by the operator. One position is usually the
nominal balance, and the other two are programmed
for some other part of the shot. During the shot,
the operator (or an assistant holding the removable
remote) pushes and quickly releases a go-to button
to move the stage precisely to a new trim setting.
Pushing the “home” button at any time returns
the stage to the nominal trim. No more counting
revolutions or so many seconds; the stage moves
exactly where you want it to — and back.

In addition to big tilts and Dutch angles, you might
set a button to “post perfectly vertical and in dynamic
balance,” and use another button for the nominal
trim for the shot at hand. Or set the three buttons to
roughly account for the side to side movement of film
in some magazines.

The center go-to button on remote shares the same
preset as the “L” position on the switch on the nose
box. The “L” position is programmed exactly like
the center go-to button on the remote, and the red
mode LED on the nosebox will flash to confirm
programming.

The “C” button can be programmed the same way as
the “L” button. It might be useful to reprogram the
“center” position if you were working with a camera
and the nominal balance was shifted significantly side
to side. Then every time you changed lenses or started
the day you would not have far to go to rebalance side
to side.

Holding one of the go-to buttons down for more than
six seconds will clear all programming for that button
and make it non-operational. The green LED will flash
3 times. It’s a good idea to clear out all 3 buttons at the
beginning of the day.

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Charging the remote

Changing the frequency

Smart

Motorized

Stage

If the transmitter’s battery is low, the
LED will blink continuously after any
button is depressed. To charge the remote,
remove it from the gimbal handle. Plug
the supplied cable into the remote and
the other end into either one of the 4-pin
HRS connectors on the sled.

Leave the sled on as you charge the
battery. It takes about 5 hours to charge
a completely discharged remote battery.
When the battery is charging, the green
LED will be on. When the lithium-ion
battery is fully charged, the green light
goes off.

If plugging in a fully charged transmitter,
the LED will remain lit for approximately
ten minutes until the charge circuit
determines the battery is actually full.

Battery life can vary depending on how
often the transmitter is used and the
storage and operating conditions.

To avoid interference with other systems,
1 of 8 channels can be selected via the
rotary switch on starboard side of nose
box.

The remote and the receiver must be
on the same channel. Simultaneously
holding down the top 2 go-to buttons
for 6 seconds will enter the remote into
a channel change mode. The number of
LED blinks will correspond to channel
selected.

Change channels by pressing the fore or
aft remote buttons (channel up or down).
After the proper channel is selected, the
programming mode will time out after 9
seconds and re-flash the selected channel
number. Channel 0 corresponds to 8
flashes.

(For operation outside of the USA) To
select between US and UK frequency
operation, there are two jumpers that
must be changed. One jumper is inside
the nosebox, the other is inside the
remote. They must match for the system
to work. The jumpers are set at the
factory at the time of shipping. (902 –
928MHz US and 868 to 870MHz UK)

14

The green “PWR” LED on nose box
comes on when the CPU is operational.

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Monitors

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Monitors

For information regarding your monitor, refer to
the manufacturer’s manual.

Color LCD monitor (standard)

700 nits

Built in frameline generator

HD/SDI color 7” (optional)

400 nits

Fixed frame points standard.

HD UltraBrite LCD monitor
(optional)

1400 nits

Built-in frameline generator

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The G-40 Arm

Arm post

Titanium
springs

Forearm section

LIFT adjustment knob

Upper arm section

LIFT adjustment knob

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The G-40 Arm

Double action
hinge

Titanium
springs

Quick release pin

Socket

LIFT adjustment knob

Use the at tool if there is any

play in the vertical adjustment
of the arm.

RIDE adjustment knob
shown for G-50 Series Arm
available with S and SE

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Archer

models

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The LX Vest

The LX Vest

Chest pads

Shoulder pads

Shoulder
connector

Chest
straps

Socket
block

Adjustable
buckles

Hip pads

Hip
straps

Adjustable spar
release and pin

Socket block height
adjustment

Optional Ultra Vest available

18

Adjustable
hook and loop
straps

Lower back pad

Fitting the Vest

The vest is the major connection
between your body and the Steadicam.

It must be adjusted properly and feel
good on your body. The vest is not
intended to be a straightjacket. You
should be able to move and breathe
easily.

The socket block for the arm should
move with you and not shift under load.

The overall length should be adjusted so
that lifting your legs while taking a step
up doesn’t disturb the vest. The hip pads
should comfortably grab your hips.

Start at the top

• Be sure the shoulder pads are
rmly down 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 slip forward and
down. Diaphragmatic breathing
(like a baby) works best.

• Push the vest down on your
shoulders again, be sure the spar
is vertical, then snug up the hip
pads. If the hip pads are tightened
rst, the vest will tend to ride high
until loaded, and then it will slip
around under load.

Note: A few operators have
body shapes or sizes that
are out of the general range
of adjustments. You may nd
you have to add or remove
padding, shorten or extend
straps, etc. to make the vest t
perfectly.

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

Tip: While wearing
the vest and resting
between takes, release
the vest straps to
increase blood ow and
ease tension in your
muscles.

• Closing the clips on the hip and

chest straps is the nal step.

• Pay close attention to the good t
of the vest in the photo (left). It’s
very important how the shoulder
pads contact the shoulders and
the shoulder connectors are not
too high (a common mistake).

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Sled Base

Connections

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Posts and clamps

To balance heavy cameras, and/or to raise the lens
height, make the rig longer. The telescoping post is
adjusted by releasing the black wing clamp at the
base of the post. Be sure to support the sled before
you release the clamp.

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Posts & Clamps

Note: There is a safety line inside the posts to keep them
from separating. The safety cable will prevent you from
extending the post too far. Do not twist the bottom section
more than 180 degrees from the top section as this will
also twist the internal cables.

Rotating Battery Mount

The battery mount pivots approximately 270º to facilitate static balance, dynamic balance, storage,
and for inertial control. Pivoting the battery all the way down will enable it to get closer to the sled,
reducing pan inertia and/or helping to balance very heavy cameras. Pan inertia is maximized with
the batteries horizontal and the battery rods fully extended.

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Attaching the

Camera

Attaching the Camera

Camera c.g. .75” (19mm)
behind center post – fore-aft.

The basic idea: We want to position the camera’s center of gravity about .75 inch (19mm) behind
the centerline of the post fore-aft (as seen from the side) and directly over the centerline of the post
side to side (as seen from the front or rear). We do this to facilitate both static and dynamic balancing.
We fine-tune the placement of the camera as we balance the rig. See page 26.

First, center the side to side and fore-aft adjustments of the camera mounting platform, using the knobs,
the remote control, or better yet, flip the centering switch to “C” and the motorized stage centers itself!

Attach all the accessories to the camera, including lenses, loaded film magazines, focus motors,
obie lights, transmitters, etc. Don’t worry too much if you must add your motors or other accessories
after you have attached the dovetail plate.

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

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

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

22

Finding the camera’s side to
side center of gravity.

Attach the long dovetail plate to the
bottom of the camera, centered as closely
as possible under the camera’s c.g.
Use two screws to keep the plate from
rotating.

If possible, attach a second optional
dovetail plate to the top of the camera,
directly above the other dovetail. This
may require additional hardware, such
as a special low mode bracket for your
camera.

Dovetail locking lever fully open.

If the camera won’t drop fully into place,
be sure the left side of the dovetail is
fully inserted, all is parallel, and the
locking lever is fully open. It’s a close fit.

After the dovetail drops into place, close
the locking lever half way and slide
the camera until the fore-aft c.g. mark
is about .75 inches (19mm) behind the
centerline of the telescoping posts.

Push the locking lever forward to fully
lock the camera into place. You are now
ready to static balance the sled.

Closing the locking lever.

Push rmly.

The dovetail locking lever has
three positions (see page 8):

• 60º back is fully open and the
dovetail plate can be inserted or
released.

• At the half way or 90 degree
position, the dovetail can
slide back and forth for gross
positioning of the camera. With the
locking lever in this position, the
dovetail can slide but cannot be
removed.

• All the way forward is the locked
position.

Place the camera above the camera
mounting platform. Be sure the locking
lever is fully open. Angle the left edge
of the dovetail into the holder. Be sure to
keep everything parallel. Lower the right
side into the holder.

Tip: If you add your focus motors at this point, remark the
camera c.g. If the side-to-side position drastically changes,
you may have to reposition the dovetail plate on the
camera.

Big, important tip: Wrap up, Tie up, Tie down, Hook and
Loop, or Gaffer tape all cables so they don’t op around
and mess up your precise balancing. If you have cables
that run to the outside world, leave them off at this point.

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Static

Balancing

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Static Balancing

The Steadicam sled should be carefully balanced to help the operator
get the shot.

Before balancing, the sled should have the camera and battery
attached, all cables secured, and all accessories on board. Place
the camera c.g. about .75 inch (19mm) behind the centerline of the
telescoping posts.

Release the rod clamp
at the base of the
sled and pull out the
battery three or four
inches. Retighten the
battery rod clamps.

The camera mounting stage, monitor and battery
should all be properly aligned.

Release the proper clamp and rotate any section
that is out of alignment.

Mount the gimbal on the balancing stud. It’s a
good idea at this point to have an assistant hold
the 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 that
close to being in balance, then work on another
axis. You may have to go back to tweak the
balance in any given axis several times.

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

24

When the sled is nearly neutrally balanced top to
bottom, very slight movements of the camera or
battery will have a large effect on balance. The
sled will behave differently depending on how
bottom heavy it is.

Adjusting top to bottom balance

To adjust top-to-bottom balance, tilt the sled until
it is horizontal. Hold the sled firmly and release
the gimbal clamp.

Slide the gimbal until the sled balances
horizontally - but never allow the sled to move
from horizontal with the gimbal clamp open.

Slide the gimbal up towards the camera about .5
inch (13mm) and lock the gimbal.

Checking drop time

Let the sled rotate (drop) through vertical and
note the time. A two second drop time is a good
starting point. Raise or lower the gimbal slightly
to get a faster or slower drop time.

A Really Fast Balancing Tip:

To speed up the process of side-to-side
and fore-aft balancing, stand next to the
sled as you would while operating. Hold
the sled vertical with your operating hand
on the gimbal. Hold the gimbal the same
way you would do while operating.

Side-to-side and fore/aft balance

Keep the camera c.g. about .75 inches (19mm)
behind the centerpost and move the battery in
or out to get close to fore-aft balance. Fine tune
fore-aft balance with the knobs on the stage.

Hold the sled absolutely vertical as you adjust
the side-to-side or fore/aft balance. Turn the
adjustment knobs with your other hand (or use
the stage motor transmitter) until you feel no
pressure on your operating hand, and the sled
will be in static balance.

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

Tip: When adjusting the balance fore-aft or side­to-side, moving any weight “up hill” makes the
sled hang more vertically.

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Dynamic Balancing

A Steadicam sled is in dynamic balance when the center post remains vertical as the sled is panned.

Dynamic

Balancing

Dynamic balance is extremely important for precise operating and also for whip pans.

For each arrangement of camera, monitor position, post length, accessories, etc., there are many
possibilities for statically balancing the Steadicam.

However, for each arrangement, there is only one combination that also balances the sled dynamically.

There is some leeway as to the required precision of dynamic balance. What is acceptable depends upon
the operator and the situation.

Dynamic balance can easily be achieved by the trial and error method.

In all cases, when a sled is in dynamic balance, the camera’s c.g. will be to the rear of the center line of
the center post. This rule gives you some point to begin balancing the Steadicam.

Position the camera so that its c.g. is about .75 inches (19mm) behind the center post.

Static balance with the battery so the sled hangs perfectly vertical fore and aft.

Trim side to side with the camera, using the knobs on the stage. You can also use the stage motor remote
control, as shown. Fine tune fore and aft balance with the motors as well.

Give the sled several careful test spins and note the results. Good or bad; flat pan or wobbly? Is it your
technique or is the sled out of dynamic balance?

If the sled is out of dynamic balance, move the battery in or out a bit. There are only two directions to
choose from: you have a 50% chance of getting it right.

Be sure to make a note of which direction you move the battery.

Make sure to give it an
even spin. Use your

thumb and rst nger

up at the gimbal.

Spinning a bit wobbly.

Looking good!

26

Rebalance statically with the camera (racking it in the opposite direction), and spin the sled again. Better
or worse? Again, you have two choices.

Re-rack, rebalance, and spin again (and again!) until the sled pans flat. This should not take a lot of time.
When the battery is within about 1/4th inch of ideal, the sled will behave nicely and feel “sweet.”

Adding any accessory will affect both static and dynamic balance

How much? It depends on the mass and position of the object, and the masses and positions of
everything else on the sled.

You will discover that as the monitor is placed higher towards the camera, the closer the battery c.g. gets
to the center post, and the more the camera c.g. moves away from the post to the rear. See the diagrams.
With any given monitor position, the heavier the camera, the closer its c.g. will be to the center post.

As you extend the telescoping post, you will discover the battery needs to move slightly further to the
rear to maintain dynamic balance.

Three figures to study for understanding
dynamic balance.

The top figure looks like the Model One or the SK. The camera c.g.
is centered over the post; the monitor and battery are on the same
horizontal plane, and their common c.g. is in the post. This unit is in
dynamic balance and pans flat.

The second figure has the monitor raised a bit. This looks like most
Steadicam configurations, high or low mode. Note that the battery
c.g. is closer to the post, and the camera c.g. has moved to the rear.
Why? See the third figure.

In the third figure, the monitor has been raised all the way up in
front of the camera. It’s absurd, of course, but it makes a point.
Now the common monitor and camera c.g. is over the post, and the
battery’s 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 rear and the battery c.g. must move towards the post.
With the Archer2 (and most Steadicams), the monitor is always
raised above the battery. Therefore camera is always to the rear of
the centerpost.

M

B

M

B

M

B

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2

Arm

Adjustments

Arm Adjustments

Weight Capacity

The G-40 arm has a lifting capacity of 12 to 40 pounds
(5.4 to 18.1kg). No tools are required to adjust the arm
strength, but the Steadicam must be worn to adjust the arm.

The section being adjusted must be held at a slightly
upwards angle for the adjustment knob to turn.

Very important: Adjust the forearm section first. Make sure
it properly carries the load. Then adjust the section closest
to the operator (the upper arm) so that it follows or tracks
with the forearm section as the operator booms fully up
and down. Getting the second section to follow the first
can be a little tricky, so you may have to repeat this process
several times.

Adjusting the forearm section. The
arm must be angled slightly up for
the adjustment screw to turn.

28

Adjusting the upper
arm section

Boom the arm up and down, watching to see if the upper
arm follows the forearm.

Arm Lift Angle

Determining your threads is part of basic operating technique. Two adjustment screws in the socket block
on the vest and two “rod ends” in the mating section of the arm determine the angle of lift of the arm.

These two adjustments are your “threads.” They are personal and critical for good operating. Some
combination of adjustment of these screws – and your physique and posture – will make the arm lift
straight up when carrying the sled.

The angles of adjustment are not directly “in-out” and “side­to-side,” but rotated about 30 degrees clockwise (relative
to the operator). We can suggest approximate threads to
start, but the only way to test your threads is to pick up the
Steadicam and see what happens.

Side-to-side

For almost all operators, regardless of body type, the typical
adjustment for the “side-to-side” screws (the rod ends in the
arm) is 1.5 to 2 turns out on the top screw and ALWAYS all
the way in on the bottom screw.

When carrying the sled, use a 1/4 inch Allen wrench. The two
side-to-side screws work independently of one another. Do
not tighten the lower screw, but be sure it is all the way in,
and then back it out 1/8th of a turn.

Use a 1/4” Allen to adjust the
“side-to-side” screws. When
wearing the rig, be sure to hold
the centerpost in line with the
“in-out” thumbscrews. This will
take the loading off the side-to­side screws.

In-out

The “in-out” adjustment on the socket block varies greatly
by the operator’s body type. If you have big pecs and a flat
stomach, the top screw is almost all the way in. If you’ve
been eating well and exercising less, the top screw will be
further out.

Always dial in the top screw first to your setting, then turn
in the bottom screw until it just snugs up against the fitting.

Looking down at the top “in­and-out” screw. Count the
threads indicated by the arrow.
This is a typical adjustment for
a person in reasonable shape.

There is no need to tighten the bottom screw very hard.

With both pairs of screws properly adjusted, the camera will
float in all positions with the operator standing relatively
comfortably.

Adjusting the “Ride”

The optional G-50 arm (available on S and SE Archer2 models) arm has an
active “Geo” link that changes the spring tension as the arm booms up and
down. The active link makes for a smoother ride, and enables the arm to have
an extended range compared to older arms.

In the G-50 arm, this “Geo” link is adjustable, giving the operator the ultimate
control over the arm’s behavior. You can make the arm extremely Iso-elastic™
or you can make the arm seek the center position more strongly.

In general, you want to make the arm as Iso-elastic™ as possible, so you do less
work booming the sled up and down.

As the arm carries more weight, the Iso-elastic™ feel will change. Turn the
ride control knob counter-clockwise to maintain the Iso-elastic™ response.
Remember, a heavier rig needs “more” iso, and a lighter rig needs less.

Adjusting the ride: the arm must be
angled up at the top of its range.

Note: the ride knob is horizontal, the
lift knob is vertical.

To set the ride control for the maximum isoelasticity:

• Set the arm to carry the sled’s weight

• Be sure to stand in proper form

• Boom the arm section all the way up to adjust the ride control

• Unscrew the ride control knob a few turns at a time and test by booming up and down.

• At some point, the arm section will begin to lock up as you boom up. When it does, screw the ride

control knob back in a couple of turns. Repeat for the other arm section.

• If you change the weight of the rig signicantly, change the ride control. A heavier rig needs more

“iso” and a lighter rig needs less “iso.”

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Getting

2

Getting Started

If you’ve never flown a Steadicam before and can’t wait for a workshop, here’s how to get started. It’s
better if you have a trained Steadicam operator helping you.

Started

Undocking the sled

Bend at the waist and insert
the arm post into the gimbal
handle.

Hold the rig and arm as
shown, then simultaneously
step in and stand up straight.

Do not lift, but let the arm take the weight (if the arm is grossly out of adjustment for the weight of the
rig, then you will have to lift up or push down on the arm).

Release the safety pin by pushing the button.

Step back from the stand and bring the rig by your side.

Use the reverse procedure to dock the rig.

Making the rig float next to you

Stand up straight and turn your hips slightly towards the rig.

Adjust the arm to float the camera in the middle of its range
(see page 28)

If the rig strongly moves away from you, readjust the arm
threads (see pages 29)

Try to keep the rig floating next to you – lean slightly away
from the direction the rig wants to go.

The left hand

• holds the rig as lightly as possible

• aims the camera – pans and tilts

• keeps the rig upright – prevents

unwanted pendular action

The right hand

• holds the arm

• ne-tunes the camera’s spatial position

• booms the sled up and down

• holds the lens height regardless of the

bounce in the arm

30

• places the camera laterally

Walking correctly is the key to good operating

Walk as normally as possible – with your hips turned slightly towards the rig.

Do not bend your knees like a handheld cameraman – let the arm do
the work.

Walk with an intention: get to a specific spot, follow a specific path.

To start a camera move, move the camera first, then walk with it.

Use the handgrip to prevent the sled from going off level.

Missionary
and Don Juan
positions

In both positions,
the main post is in the
same place and the
cameraman’s posture
is the same.

To stop a camera move, stop yourself first, then “kiss off” the camera’s motion.

When standing still, try to keep your weight mostly on one foot.

Learn to walk forwards and backwards – be sure to stand up straight and
be in balance at all times.

Goofy foot

If you want to operate “goofy-foot,” — with the sled on the right side – you will need to reverse the
socket block, flip the arm mating block and reset your threads.

On the LX vest, loosen the three clamping screws for the front yoke, the chest straps, and the socket block
plate. You may have to tap the plates hard with your fist to get everything to release. Pull the pins and slide
the plates off the spar. Flip the socket block plate, then reassemble the vest and retighten the clamps.

Missionary
position

Don Juan
position

On the arm, pull the “parachute pin,” flip the mating block, and reinsert the parachute pin.

Note that the mating block is now reversed;
the upper side to side adjusting screw is now
the lower screw and vice versa.

To set your threads, use a 1/4” Allen wrench
and turn the lower side to side screw all the
way in, then adjust the upper screw to your
threads – about 2 to 2.5 turns out. Use the
same procedure to change back to normal
(left) side operating.

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Low Mode

2

Low Mode

For low mode, the sled is flipped upside down,
the monitor is re-righted, and the camera is
mounted from its top. A special low mode
bracket is required for every camera.

A low mode bracket should be placed so that
the upper clamp plate will mount directly above
the correctly located clamp plate on the bottom
of the camera. Also, the bracket should be as
close to the camera body as possible. It should
be small, strong, and not interfere with other
camera functions, such as tape loading for video
cameras, video assist cameras, or mag loading
for film cameras.

Custom made handle
clamp

Hill Arri Low mode
bracket

Other than a film magazine, the top of the camera and its accessories should not extend above the
upper clamp plate, as this may cause interference with the camera mounting stage. Lightweight
“universal” cages generally flex too much to be useful. Many video handles are not stiff or strong
enough for low mode.

Handle clamp type low mode bracket.

Low Mode Operating

The low mode bracketry might also provide a means of mounting motor rods (or a dovetail with
motor rods), and this system should not interfere with camera functions, working with the camera in
high mode, etc.

Flip the monitor 180° and invert the image on the LCD. (If you
have the HDSDI monitor you will need to remove the monitor
from the yoke and flip it.)

The other necessary accessory for low mode operating is the
F-bracket. Its function is to bring the arm back into a proper
relationship with the inverted sled.

32

Without an F-bracket, the end of the arm will be next to the
camera and the operator will find it difficult to operate and
impossible to make changes.

Insert the punch pin to safety the F-bracket to the gimbal.

An F-bracket is required for the gimbal, and this new arrangement of components must be
balanced, both statically and dynamically.

Traditionally, it’s considered harder to operate in low mode than in
high mode. Why?

Several factors may work together to make low mode
operating harder. The operator usually holds the sled further
from his body than in high mode. The operator’s hands are
not at the same height. Many times, the post is tilted from
vertical. The boom range is sometimes reduced. The rig may
not be in dynamic balance. The operator often cranes his neck
to see the image. In addition, every director wants the lens
height lower or higher than one can properly reach. And it’s
just plain weird to have the monitor so far above the lens.

Dynamic balance in low mode

Rebalancing is often ignored because it’s next to impossible to spin balance in low mode. But dynamic
balance is critical for precise work.

If the operator does not change the length of the sled or the monitor position, the sled remains in
dynamic balance when flipped to low mode. (Remember, the monitor flips on its center of gravity.)

If the operator changes the sled length and/or the monitor position, the Archer2 sled must be
rebalanced dynamically.

Tip: Dynamically balance the sled with the camera and monitor upside down (high mode). Then as
your final step, move the gimbal away from the camera, so it hangs right side up in low mode.

But one still has to hold the camera further from one’s body, and the monitor is

still above the lens. So practice until low mode is as easy as.... it can be.

Cautionary Tip: When in low mode and
adjusting the camera position by sliding the
dovetail, be sure to support the camera.

33

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2

Maintenance

General:

Maintenance

Keep the sled clean.

Protect the steel parts in the arm from water, salt water, and other corrosives.

Keep sand away from the rig.

Avoid baking the rig in the hot sun.

Vest:

Keep it clean.

The pads are washable. Hand wash or use the gentle cycle; air dry.

Watch for loose buckles and worn out hook and loop. Both can be easily replaced.

Battery:

Refer to the manual that comes with your batteries for the battery manufacturer’s care and maintenance
procedures.

Monitor:

Refer to the manufacturer’s manual.

Cautionary Tip:

Never apply WD-40 to any part of your Steadicam.

34

Supplied Accessories

Docking bracket

Camera power cable, BNC video
cable, T-handle 1/4” Allen wrench,
camera mounting screws.

Optional accessories

Camera mounting
dovetail plate

Tally light sensor

Batteries and charger

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2

Accessories

More cables

Low-mode kit

Cases and packing

Many operators cut the foam to accommodate
accessories kept on the sled - such as a focus
motor receiver or a small VCR. A long, thin
razor blade works fairly well to cut the foam, as
does a serrated knife.

The sled case has wheels and a handle.

Cases

Most operators have several other cases for their
accessories, tools, low mode brackets, video
recorders, video transmitters, diversity receivers,
remote focus equipment, etc.

35

The Tiffen Company

90 Oser Avenue • Hauppauge, NY 11788

[phone] • Fax: [phone]

www.steadicam.com • www.tiffen.com

e-mail: [e-mail]

LIT-305000 • 1009