Steadicam Merlin 2 Setup And Operation Manual

Setup and Operation Manual

LIT-812000

Designed in the USA, manufactured in Taiwan by:
The Tiffen Company
90 Oser Avenue
Hauppauge, NY 11788
631-273-2500 Fax [phone]
Toll Free 800-645-2522 www.tiffen.com
Tiffen/Steadicam 818-843-4600 www.steadicam.com

Cookbook & Merlin 2 help: www.merlin2cookbook.com

[e-mail]

US Patents 4,946,272, 5,098,182 and 5,229,798
Other US & Foreign Patents applied for.

Steadicam® and Merlin® are registered trademarks of The Tiffen Company.
Copyright 2012 Garrett Brown & The Tiffen Company. All rights reserved.

Basic Set-up

Table of Contents

Part One — Setup

1. Overview 3 – 5

2. A Tour of the Merlin 2 6 – 8

3. Getting Started 9 – 10

4. Pre-Setting Balance 11 – 15

5. Installing Dovetail Plate 16 – 18

6. Balancing and Mounting the Camera 19 – 21

7. Horizontal and Vertical Trim 22 – 26

Part Two — Operating

8. Hand Positions 28

9. Body Positions 29 – 31

10. Extreme Trimming 32

11. Stairs 33

12. Shooting and Resting Positions 33 – 34

13. Vehicle Shots 35

14. Merlin 2 Technique 36 – 40

Moves and Results

15. Accessories 41

16. Troubleshooting 42

17. Maintenance 42

18. Glossary 43

1

Basic Set-up

Part One

A letter from Steadicam® Inventor, Garrett Brown

Dear Friends,

You are about to have a two-part experience. Even
this manual is in two parts. First you will go through
the Setup of your particular camera on the Steadicam
Merlin 2 — think of this as a brief game of weights and
balances — after which you will progress to the fun
part: Operating!

Steadicam operating is a compelling and evolving art,
and the Merlin 2 is a true instrument – stiffer, more
precise than ever – and fully as capable as its big brothers in the movie world. On this DVD,

you’ll nd everything you need to get started; and a bit later, as your skills develop, you may
nd it worthwhile to have a second look through the ‘Operating’ section for info and tips you

may have missed.

The Steadicam Merlin2® with its second generation Folding-Caliper hinge, and ultra-rigid
aluminum and stainless-steel construction, permits moving shots at unprecedented focal lengths,
and the Folding-Caliper extends and retracts to balance cameras weighing from one-half pound

to ve pounds, yet automatically seeks the compact folded position. I hope that you will really

enjoy owning and using the Steadicam Merlin 2, and I look forward to seeing some of the results

– in sample reels, documentaries, commercials, home movies and feature lms!

Good luck and have fun.

Garrett Brown,
Philadelphia, 2012

www.garrettcam.com

2

Part One — Setup

Congratulations on your purchase of the Steadicam

The Steadicam Merlin2® is a camera stabilization system for lightweight
camcorders based on the professional Steadicam technology used worldwide in

professional lm and television production.

®

Merlin2®!

Features

• Ultra-light:

by itself weighs just 1.4 lbs (0.64 kg)

• Ultra-compact

• Ultra-rigid aluminum construction:

supports longer-focal-length shooting

• Precision two-axis vernier stage for accurate, repeatable horizontal balance

• Adjustable vertical trim

•

Patented ‘Folding-Caliper’ hinge—magically nds true folding position

Basic Set-up

• Quick-release aluminum dovetail with three-position lock

• Quick-release tripod adaptor

•

Tough, modular construction

•

Flies cameras weighing from 0.5 to 5.0lbs (0.23 - 2.27kg)*

• Ergonomic, three-axis inter-gimballed handle

Camcorder video quality is now superb, but unstable shooting still looks
amateurish. When you master the Merlin2®, you will be able to move your
camera smoothly, with a high level of artistic and creative freedom. With the

Merlin

dollies, cranes and the big Steadicam® rigs.

The Steadicam Merlin2® is an instrument that requires know-how and practice.
Please read the rest of this introduction and then carefully follow the recommended
procedure for setup and operation. You’ll save time in the long run and minimize the
risk of damaging the unit.

2®

your moves can be virtually indistinguishable from those made by

*Camera Weight Capacity is dependant on camera CG position.

3

Overview

1. Overview — Read this rst

How to Use the Merlin2® Manual and Instructional Video

The Merlin 2 manual and instructional video are designed to be used together. They are divided into
corresponding sections. Watching the video for each section will show you the basic principles and
operations of the Merlin 2 and give you a feel for how to perform them. Then the manual will take you
step-by-step through the same operations with your Merlin 2 and camcorder. We recommend that you
proceed as follows:

Print out the manual, if desired, read this introduction all the way through and prepare for setup as
described.

From this point on, each step requiring a specic action on your part will contain space for a check mark

and should be checked off as performed.

Now watch Sections 1 (Introduction) and 2 (Tour of the Merlin 2) on the DVD. Watch them all the way
through, and don’t attempt to follow along with your Merlin 2. We’ve found that it’s almost impossible
to work with the Merlin 2 and watch the DVD at the same time!

At the end of Section 2, the DVD will pause and you can turn to Section 2 of the manual. Perform each
step as requested and check them off as you go. If you determine that a step does not apply to you, check
it off anyway.

It is important to perform the steps in the proper sequence, to avoid both frustration and the risk of
damage to the Merlin 2. Do not unfold the unit or attempt to mount your camera except as directed.

The Merlin2® Cookbook

Recommended settings for some popular camcorders may be found in the Online Cookbook at:

www.merlin2cookbook.com

Note: Due to the ever-increasing number of camcorders, we may not yet have your

camera setting listed. If your camera is not in the cookbook, we recommend the
following:

If you know that your camera generically resembles one that is listed, try using the specications

for that camera.

If not, we’ll help you balance ‘from scratch’, and you can help us in return, by
e-mailing your successful Merlin 2 settings for cameras not yet listed in the cookbook to:

4

[e-mail] to be posted in the “User-Reported Settings” Table.

Requirements for setup

Set aside an hour or so for your rst session with the Merlin 2. Set up a comfortable work chair and table in front of

your TV and near a bright light. Put the following items within easy reach:

• The Merlin 2 packing case. Don’t unpack yet.

• Your camcorder, with a fully charged battery.

Basic Set-up

• Check for your camcorder listing at: www.merlin2cookbook.com and write down the settings here (we’ll

explain):

• Number and size of forward weights

• Number and size of lower weights

• Arc size

• Mounting hole letter (A-O) on dovetail plate

• Stage position

• ‘Guide’: number of turns.

• Large and small at-head screwdrivers.

• A pencil.

• A tape measure.

• A white grease pencil or china marker (optional).

• A shallow cereal bowl or glass pie plate (optional).

• The DVD remote. It can help to perform the setup as a team effort. One person reads the manual, checks off

each item and plays the sections of the DVD as appropriate; the other performs the setup of the Merlin 2.

You will perform these basic operations

Unpacking and identifying each part.

•

• Learning to safely unfold the Merlin 2 into “ying mode” and to re-fold it into “travel mode.”

Don’t attempt to unfold the Merlin 2 until you reach this section.

• Presetting Merlin 2 balance for your camera.

• Preparing and mounting your camera.

• Trimming (ne-tuning) Merlin 2 balance.

Once the camera is properly balanced on the Merlin 2, we recommend that you leave it attached to the Merlin 2’s
quick-release dovetail plate. By itself, your camera can be hand-held or instantly attached to your tripod with the
included Tripod Adaptor Plate, and when mounted on your Merlin 2 it can be tucked against your shoulder for
extra stability if shooting conventionally, or quickly folded for traveling or storage.

Merlin 2 setup takes a little time, but if you do it right you’ll only have to do it once. Even if you remove the
dovetail plate from your camera the locating pin will insure that it can be remounted in the correct, balanced
position with just a single screw.

Now, you’re ready to start.

View the rst two sections of the DVD, including Section 1:

Introduction and Section 2: A Tour of the Merlin

Follow up by reading A Tour of the Merlin2® in this manual.

2®

.

5

2. A Tour of the Merlin

2®

Before you take your Merlin2® out of the box…

The Parts

We’ll begin by describing the purpose of the system and identifying
the major components. Then we’ll cover the procedure for safely
unpacking and unfolding the unit. So leave it in the box for now!

Camcorders are unstable because the human beings holding them are
always in motion. Small rising, falling and side-to-side movements
don’t really show unless there’s some object close in the foreground,
but tilting the camera up, down or side-to-side by a similar amount
will noticeably affect the framing.

Activate your camcorder, go fairly wide-angle and frame
a scene across the room. Keeping the camera level, try
raising and lowering it about an inch by slightly bending
and unbending your knees, then moving it side-to-side the
same amount by slightly shifting your weight from one
foot to the other. Note that the effect on the framing is slight.

Now tilt the camera slightly to the left…to the right…up…down. Note the dramatic effect
on framing of these tipping motions.

Hand-holding a camera, particularly a small camera, results in angular motions (little ‘tilt’ and ‘pan’

corrections) which are quite disturbing because the human eye doesn’t see the world with the shakes.

So-called ‘digital stabilizers’ and optically stabilized lenses work well to eliminate vibrations, but are

useless for the large-scale bumps that occur when you attempt to walk, run or climb stairs.

The Steadicam rig works by disconnecting the camera support from the camera and allowing you just

enough angular inuence to aim it. In addition to being a great stabilizer, it is also an elegant way of
holding a camcorder to permit complicated and graceful moves that would otherwise be impossible.

Locate the following parts on Diagram 1:

Gimbal and Grip. The shape of the Merlin 2 is designed to stabilize the system by placing

its center-of-gravity below the camera — in fact, just below the center of the Gimbal. The
Gimbal won’t permit any angular force to pass through it, so it doesn’t matter if your hand
shakes while holding the Grip, which is below the Gimbal and therefore isolated from the
camera.

Just above the Gimbal is the Guide, the small surface you use to aim the Merlin 2. Since
your “gripping hand” does all the work in supporting the Merlin 2, your “guiding” hand can
retain the extremely light touch necessary to aim the camera without transmitting the shakes.

Your camera will mount to the quick-release Dovetail Plate, which attaches to the Stage.

The Trim Controls on the Stage make it possible to tune the balance of the system so that
it is poised level on the Gimbal, but is every-so-slightly bottom heavy.

The Upper Spar and Lower Spar distribute the mass of the system. (Note the tapered
Start and Finish weights screwed together at the end of the Lower Spar.)

The Folding Caliper Hinge has two functions: It permits the Merlin 2 to fold and

unfold between the travel (storage) and shooting positions; and it adjusts the size of the arc

between the upper and lower spar, to tune the vertical balance of the Merlin 2.

6

The Caliper Release Ring prohibits inadvertent folding with heavy cameras.

The Upper Locking Knob and the Lower Locking Knob release the upper and
lower spars to expand or contract at the Caliper Hinge, and then lock them tightly to prevent
vibration when shooting

The Caliper Adjusting Knob raises and lowers the lower spar to adjust the size of the
arc between them.

The combination of these elements works astonishingly well, and we hope you will enjoy the Merlin
2 as much as we do. With practice, you can move easily through almost any shooting opportunity,
walking, running or climbing stairs, and deliver wonderful shots.

upper spar

upper locking knob

caliper
release

nish weight

folding caliper
hinge

ring

fore-and-aft
trim roller

stage

gimbal

Basic Set-up

guide

handle grip

lower locking knob

Diagram 1

lower spar

caliper
adjusting
knob

dovetail plate

folded
metal edge

tapered start and
middle weights

dovetail lock

7

The Parts

Unpacking and identifying parts

Remove the parts one at a time from the box. Make a check in the space provided as you identify each

part. Any part that is packed in an envelope should be identied and then kept in that envelope until

it’s called for. Do not throw away any packing material until all parts are accounted for. If anything is
missing, please contact Tiffen for a replacement.

You should have:

Steadicam Merlin

2®

DVD: “The Art of Steadicam Merlin 2”

Nine threaded stainless-steel weights:

One Start and two Finish weights

Six Mid weights

Plastic Bag, containing:

Mounting Screw for mounting camcorder to Merlin 2

Locating Pin sets: pin and attaching screw

Lens Saddle (provides optional stiffening and support for

some heavy camcorders)

Tripod Adaptor Plate

When all parts have been located and identied, watch

Section 3 of the DVD, Unfolding the Merlin

2®

.

Then continue with the Manual.

8

3. Getting Started

Unfolding the Merlin2® into Flying Mode

The Steadicam Merlin 2 is shipped to you in its compact Folded or Travel Mode.

It is important to unfold and fold the unit in the proper sequence, to avoid accidental
damage. There are only two positions.

Begin by unfolding the unit into Flying Mode as follows:

Position the Merlin 2 as shown. Hold the Stage and the Grip
together with your hand.

Note the storage position of the Grip in the folded unit,
secured up under the stage alongside the folded lower spar.

Check that the Caliper Hinge

Release is open and out of the way.

With the other hand, swing down the Lower Spar sideways
until it clicks into the fully opened position.

If you plan to use a heavy camera, get into the habit of
locking the Caliper Hinge Release when the Merlin 2 is
unfolded into Flying Mode.

Getting Started

The Steadicam Merlin 2 is now in Flying Mode. When a camera is
properly mounted on the Stage, you will be able to hold the unit by

the Grip and the camera will “oat” in balance above it.

Folding the Merlin2® into Travel Mode

Unlock the Caliper Hinge

Release by pulling back the

lock ring ring and rotating it
counter-clockwise.

‘Dock’ the Gimbal under the stage by pressing the
hook and loop fastener patch on the Grip to the
matching patch under the bubble level.

Grasp the Stage and the Grip with one hand and swing
up the Lower Spar until it clicks into the ‘Travel’
position under the stage alongside the grip.

Practice folding and unfolding the Merlin2® between Flying Mode and Travel Mode.

9

Getting Started

Identify the following parts:

Gimbal. We identied the Gimbal in Section 1, but

now examine its range of motion. The Gimbal contains
delicate bearings and must not be forced beyond its
natural range of movement.

Grip. The Grip supports and positions the Merlin 2.

The Grip should always be held with the rubber grip

side facing forward in contact with your ngers. If

it’s held backward, movement of the Gimbal will be
impeded and under some circumstances the Gimbal
could be damaged. Try gently moving the Grip and
Gimbal around to compare its range of motion in the
correct vs. incorrect positions.

Guide. This is the black ring above the Gimbal. The

Guide provides a minimal surface so the thumb and

one or two ngers can aim the camera. The “Tongue”

at the front of the Guide provides extra surface area to
assist in tilting the camera. Do not rotate or adjust the
Guide yet.

Fore-and-Aft Trim Roller, along the side of the

Stage.

Side-to-side Trim Roller, under the Stage at the

back of the Gimbal mount.

Now you are ready to begin balancing the unit for your camera.

Watch Section 4 of the DVD, Presetting Balance.

Then continue with the Manual.

10

4. Pre-Setting Balance

When your camera is mounted onto the Merlin 2, the entire unit must be set-up and balanced so that the
combined center-of-gravity (camera plus Merlin 2), ends up just below the center of the fulcrum (the
Gimbal), and precisely adjusted to be slightly bottom-heavy. Let’s take a moment to understand this.

Try balancing a shallow pie plate on the tip of your nger. It’s very difcult to do,
because the center-of-gravity (c.g.) of the bowl is above your nger.

Turn the bowl upside down. Now it’s much easier to nd the balance point and
once you nd it you can move your nger from side-to-side and it won’t fall off.

That’s because you’ve made the bowl bottom heavy and put its center-of-gravity

below your ngertip.

“Z” Balance

c.g. is above nger

Slight bottom-heaviness is the key to Steadicam stabilization. That’s what the compact stage and the
weights on the Lower Spar are for: to provide just enough mass well below the Gimbal to compensate
for the much greater weight of your camera just above the Gimbal. Of course you’ll want the unit to be
somewhat bottom-heavy before attempting side-to-side or front-to-back balance, or the camera will tend

to op over and hang upside-down.

c.g. is below nger

Three ways to balance bottom-heaviness

Because the Merlin 2 accepts cameras weighing from 0.5 to 5.0lbs (0.23 - 2.27kg), we provide three
graduated ways of achieving appropriate bottom heaviness.

1. Adding weights

The coarsest adjustment of bottom-heaviness is obtained by adding or subtracting weights, particularly
at the end of the lower spar. The Steadicam Merlin 2 comes with nine threaded stainless steel weights:

One ‘Start’ weight:

1/8 lb (57g)

Two ‘Finish’ weights:

1/8 lb (57g)

Six ‘Mid’ weights:

1/4 lb (114g)

11

“Z” Balance

You won’t need to screw them on tightly. Each weight has a rubber

O-ring at the back of the threads that keeps it from working loose,

even when barely tightened.

Screw and unscrew two weights together and apart, notice that
they only need to be lightly tightened (until just snug), so they
remain easy to add and remove.

Unfold the Merlin 2 and unscrew the Start weight from the
forward position and the Start and Finish weights from the
lower position and set them aside.

If your camcorder is in the Online Cookbook at www.merlin2cookbook.com note the number and

type of weights specied for both the forward and lower positions, and note them again here:

Forward Position:

Lower Position: Start (0 or 1) + Mid (0 to 6) + Finish

Install the weights specied at both the forward and lower positions. Note, as above: a Start weight

may not be called for, but cameras weighing a pound or more will almost always employ Finish
weights, both forward and below.

0 or 1

Finish (zero for lightest cameras) + Mid (0 or 1)

Balancing from Scratch I: Formula for adding weights

If you don’t see your camcorder in the Online Merlin 2 Cookbook, here’s a rough formula to help you preset vertical
balance. Weigh your camera accurately (or look up its weight in the camera’s manual or on the manufacturer’s
website). Make sure you have the tape, disc or memory card aboard, plus a camera battery when you weigh it. Note
that the compact structure of the Merlin 2 puts its counterweights about four times as far below the gimbal (think
fulcrum!) as the center of your camera’s mass is above it. Therefore you’ll need at least a quarter of your camera’s
weight down below as counterbalance.

For every pound of camcorder weight, add at least a quarter-pound Merlin 2 weight to the lower spar.

< 1 lb (.45kg) Cameras under one pound will generally need one Finish weight forward and one Finish

weight below.

> 1 lb (.45kg) Cameras weighing over one pound will also need a tapered Start weight added below.

> 2 lbs (.91kg) At two pounds, add one Mid weight below.

> 3 lbs (1.36kg) At three pounds, add one more Mid below and also add a Mid in front (but never

more than one Mid and one Finish in the forward position -- they are for increased inertia and don’t
contribute much to vertical balance.)

+1 For every additional pound (.45kg), add at least one more Mid weight below.

Note some of the heavier HDV cameras suggested for use with Merlin 2, such as the Sony “Z” have higher than
normal centers-of-mass and may require the Mid weight in front to be moved down onto the lower spar. The idea
is to add as little weight as possible to balance your camera and so preserve the essential lightness of the Merlin 2
system. Without its weights Merlin 2 weighs 1.4 lbs (0.64 kg).

12

2. Adjusting the Caliper Hinge

The second method of balance – for a ner adjustment of bottom-heaviness – involves expanding and

contracting the angle of the Merlin 2’s lower spar. This adjustment raises or lowers the weights relative
to the camera.

Identify the Caliper Hinge Locking Knobs. They tighten
the connection between the upper and lower spar and keep
the Merlin 2 rigid to prevent vibration.

Loosen both Locking Knobs.

Identify the Caliper Adjusting Knob. It adjusts the angle
of the lower spar.

Notice the graphic on the knob. It tells
you which direction to turn to expand
or contract the Arc Size. Clockwise
expands. Counterclockwise contracts.

If weights have already been added, support the lower
spar rest on the surface of the table to make the Caliper

Adjusting Knob easier to turn. Turn the knob clockwise to

increase bottom-heaviness.

Continue until you reach the maximum expansion
of the Arc Size between the upper and lower spars –
approximately 13.6 inches (34.5 cm) – but don’t force this
adjustment further. Use this maximum Arc Size for cameras
weighing much above two pounds (.9kg), so you can use as
few weights as possible.

Basic Set-up

Turn the Adjusting Knob counter-clockwise to reduce
the Arc-Size. You will reach the minimum arc size of
approximately 10 inches (25.4 cm).

If your camera is listed in the Online Cookbook, note the

Arc Size distance specied again here:

Arc Size for your camera: inches or cm.

The distance is measured from the lower weight to the top of the Stage.

13

“Z” Balance

Lay the Merlin 2 on its side on the table. Using a tape
measure, open or close the Caliper as needed to set the
suggested distance from the lower weight to the top of the
Stage.

Now hold the Merlin 2 vertical and lock both Locking

Knobs tightly to prevent vibration.

Balancing from Scratch II: Pre-adjusting the Caliper Hinge

If your camera weighs approximately a pound (450g) set the Caliper Hinge to about
10 inches (25cm).

If your camera weighs more than two pounds (1kg), preset the Caliper Hinge so that
it’s almost fully open at 12 inches (30cm), so you will need fewer weights. This will
keep the mass of the entire unit as low as possible.

3. Adjusting the Guide Ring

The nest adjustment of bottom heaviness is obtained by rotating the threaded Guide Ring to raise or
lower the Gimbal, closer or farther from the underside of the Stage.

Identify the Guide Ring, for vertical (“Z”) axis balance adjustment. (The X axis is fore-and-aft
and the Y axis is side-to-side). Don’t adjust the Guide Ring until directed to do so.

Consult the Online Cookbook and note
the Guide Ring setting for your camera
here: turns. (Number of Z turns
counterclockwise = number of threads
showing above the Guide Ring.)

With the unit unfolded and open in Flying

Mode, turn it sideways and examine the
Guide Ring above the Gimbal.

Identify the Guide Latch Button at the
front of the ring that keeps the ring from
rotating. If this button is depressed with

a ngernail or the back of a pencil (it’s

purposely stiff) the Guide Ring can be
rotated one full turn
before the Latch snaps
back to lock it in the
correct position. But
read the next several
paragraphs, including
the warning before you
try it!

• Rotating the Guide Ring

clockwise screws in the ring
and raises the Gimbal closer
to the Stage.

• Rotating counterclockwise
unscrews the Guide Ring

and lowers the Gimbal away
from the Stage.

14

This adjustment ne-tunes the location of the center of mass to the optimum point just below the pivot
point of the Gimbal. We call this the ‘Z’ axis, or vertical balance.

WARNING: The Guide can be difcult to rotate if screwed

all the way in. Also, tightening the Guide all the way can make

the latch difcult to release.

The Gimbal contains delicate bearings. Excessive force will

cause the Gimbal Ring to break.

DO NOT use the Grip as a lever for turning the Guide. Also,
DO NOT use the tongue as a lever for turning the Guide.

Now depress the latch and gently rotate the Guide two turns clockwise, pressing
in the latch each time it comes to the front of the unit. It should rotate easily. You
may be able to rotate it part of a third turn but DO NOT ATTEMPT to force or
tighten it.

After determining that the Guide is screwed all the way in clockwise, back it off

to the rst detent position (latch forward). Then rotate it counterclockwise the
number of turns specied in the “Cookbook” for your camera.

Basic Set-up

more bottom heavy

Always leave the Guide Ring with the latch and tongue in the forward position,
locked into place. If the Guide Ring is left with the tongue at the rear, the handle
will strike it and may snap off the tongue when the unit is folded into travel mode.

You have now preset the rough vertical balance of the Z (vertical) axis. After the
camera is mounted, this balance will be further adjusted.

Now watch Section 5 of the DVD, Installing Dovetail Plate.

Then continue with the Manual.

less bottom heavy

15

Dovetail Plate

5. Installing the Dovetail Plate

Before mounting your camera, let’s preview docking the Dovetail Plate
on the stage.

Hook the folded metal edge of the Dovetail

Plate over the left side of the Stage (toward

your camera’s fold-out monitor), and the long

at surface will be toward the front.

The three-position Dovetail Locking Lever
goes to the other side.

Hold the Locking Lever straight forward and
lower the Dovetail Plate gently onto the Stage.

Swing the Locking Lever straight out away from the Stage. Notice
that the plate is held on loosely, but can still be slid fore and aft.

LOOK CLOSELY at how the shape of the Lever allows the Plate
to drop past it when the lever is forward, and to be held against the
Stage when the lever is swung toward the rear.

Swing the Locking Lever to the rear to tighten the Dovetail Plate
in position. Note that the Stage Position markings can show you
the correct position, and help you return to it when the camera has
been removed from the Merlin 2.

Refer to your list of Cookbook settings for your camera and note

the suggested Stage Position here:

Prepare your camera

Accessories have a big inuence on the center of balance, so leave them off for now. Eventually you

may want to balance the Merlin 2 with your preferred combination of accessories in place, including a
wide-angle adaptor, but to get started, the Cookbook settings are for a fairly stripped down camera.

Make sure the tape, disc or memory card is installed in your camera. Tuck your lens cap away so it

stays put while you’re shooting, and remove the shoulder strap or anything else that might dangle.

We recommend that you put a narrow strip of thick Gaffer’s Tape (fancy duct tape!) running fore
and aft at either side of the threaded insert (mounting hole) on the underside of the camera.

Since camcorder mounting surfaces can be small, irregular and often somewhat weak, this increases the

friction between camera and Dovetail Plate and improves the tightness of the t.

Note: If your camera weighs more than four pounds (1.8kg), we recommend that you
plan on using the lightest, rather than the heaviest batteries you own, and cameras
approaching 5 lbs (2.2kg) may be overweight for Merlin 2 with a wide-angle adapter.
Remember that once the Caliper Hinge is fully open, each object added to the camera

16

will require additional counterweight below.

Attaching the camera to the Dovetail Plate

Because the center-of-gravity of each type of camera is different, their positioning on the Stage will
vary. Gross positioning of the camera above the Gimbal is accomplished by the proper choice of
mounting hole. (Fine positioning is accomplished with the fore-and-aft and side-to-side trim knobs.)

Consult your settings from the Online Cookbook to nd

the correct mounting hole on the Dovetail Plate for your

camera, identied alphabetically, from A to O.

Note it here: Hole

Examine the fteen mounting holes on the Dovetail.
Directly in front of each is a smaller hole for the

Locating Pin. Circle the suggested hole with a grease

pencil or other marker. Be sure the Dovetail Plate is

oriented so that the long at side will be toward the lens

of your camera.

Identify the Locating Pin and the small
will hold it to the Dovetail Plate. Insert the screw in
the underside of the small hole, forward of the selected
mounting hole and thread on the Locating Pin from the

top. Tighten gently with a small at-head screwdriver.

Note: the locating pin is not an option with a DSLR
camera. The aforementioned gaffer tape usually
resolves any spinning issues.

Hold the Dovetail Plate against the underside of your
camera, align the Locating Pin correctly in your
camera’s Locating Pin hole, and insert and tighten the
camera Mounting Screw.

screw that

Basic Set-up

Note the Stage Position Scale on the top of the Stage
which will indicate the position on the Stage for the

Dovetail Plate.

17

Dovetail Plate

Balancing from Scratch III: Find your camera’s c.g.

If you did not nd your camera in the online cookbook, here’s how to nd and mark your

camera’s center of balance, and locate the correct hole on the Dovetail Plate. (This is a good
thing to know in any event.)

Be sure the camera’s monitor screen is folded out in the
viewing position.

Keep one hand in control of your camera so it doesn’t

topple over, and experimentally nd the spot on the

underside where the entire mass can roughly balance on

the tip of your nger.

Invert the camera and mark that spot with a pencil or
grease pencil. Your mark will probably not exactly
coincide with the threaded insert (mounting hole) in the
camera. Some of them are wildly different – that’s why
we provided 15 mounting holes!

Hold the Dovetail Plate inverted over the underside
of your camera so the true center of the plate (roughly

hole ‘H’), is located over your mark (and therefore over

the center of your camera’s mass).

Keeping the Dovetail Plate in place, visually locate
the mounting hole on the Dovetail Plate that coincides
most closely with threaded insert (mounting hole) on
your camera. You should be able to view right through
to the bottom of the hole. (It may or may not be hole H)

Mark the hole on the Dovetail Plate and install the locating pin just forward of it as
described above.

Hold the Dovetail Plate so the Locating Pin engages the locating pin hole in your
camera, and align so that you can insert and tighten the camera mounting screw.

Your camera is now ready to mount on the Merlin2®.

Now watch Section 6 of the DVD, Balancing and Mounting the Camera.

Then continue with the Manual.

18

6. Balancing and Mounting the Camera

Before your camera is mounted, inspect both trim rollers

Unfold the Merlin 2 into the Shooting Mode.

Look at the Fore-and-Aft Trim Roller alongside the Stage.
There should be about one inch (25mm) of threaded rod
showing in front.

Note the two arrows forward of the Roller. They indicate
that when you need the front of the Merlin 2 to tilt up, push
the roller up. It may take several energetic turns to make a

difference, as this is a very ne adjustment. When you need the

front of the Merlin 2 to tilt down, pull the roller down.

Look at the smaller Side-to-Side Trim Roller underneath
the Stage. It should be approximately set with about an equal
amount of threaded rod showing on either side.

Note the two arrows to the left of the Roller. They indicate that
when you need the left (or monitor) side of the camera to go
upward, push this roller up, and vice versa.

Observe the Bubble Level at the back of the Stage. The Side-

to-Side Trim Roller will be used to help balance the Merlin 2

to stay level.

Camera

Try giving both Trim Rollers a couple of quick, energetic turns. Hold the Upper Spar still with
one hand, and use the thumb of your ‘support’ hand on the Grip to push either Trim Roller up or
down. The action of the Trim Rollers is best seen from underneath. Observe how they alter the
balance of the system by moving the Gimbal carrier fore-and-aft or side-to-side relative to the
camera.

Now return the Trim Rollers roughly to their preset positions.

Mounting your camera

By now your camera should be attached in the correct location on the

Dovetail Plate. Your Merlin 2 should have the correct weights aboard and

be adjusted to have the correct Arc Size for your camera – either per the
Cookbook settings or according to our Balancing-From-Scratch instructions.
Here goes:

Hold the Merlin 2 Stage with one hand and the camera with the other
hand. Hook the bent portion of the Dovetail Plate over the monitor side
of the Merlin 2 Stage as you practiced earlier.

Hold the Dovetail Locking Lever in the forward position to carefully
allow the Dovetail Plate to drop down onto the stage.

Swing the Locking Lever straight out to the side.

19

Camera

CAUTION: Be sure to keep a hand on your camera

whenever the locking lever is unlocked to keep your
camera from falling off.

Slide the Dovetail Plate until the forward
edge is at the correct Stage Position
(according to the Cookbook as noted).

Now, swing the Locking Lever toward the
rear to lock the Dovetail to the Stage.

Balancing from Scratch IV:

If your camera is not in the Online Cookbook, set the default stage position to “0” before
locking the lever.

The Custom Lens Saddle for large, heavy camcorders:

Even on heavy camcorders, the mounting structures are often less than rigid,
and we have tried not to make the Merlin 2 too massive, so if you’re moving
violently or running and your hand is shaking there may be some relative
motion between the front of the camera and the Merlin 2 stage.

Here’s the solution: We provide the custom lens saddle – the little screw-in
platform that goes into the 1/4-20 threaded hole at the front of the Merlin 2
stage to dampen these vibrations.

If you have a large, heavy camcorder, insert the saddle and screw the
support screw into the threaded hole at the front of the Merlin 2 before
you mount your camera.

Mount your camera at the correct Stage Position, and then look under
it from the side and carefully adjust the lens saddle upward until it just
touches the underside of the camera body. Stiffening the connection
between camera and Merlin 2, dampens any relative motion between
them and you will be able to shoot more telephoto without vibration in
your shots.

Be careful not to over-tighten the lens saddle screw against the
underside of your camera; it can make the Dovetail Plate harder to
mount or dismount from the Merlin 2, and may even bend it or cause
excessive strain to the camera’s threaded insert.

20

The Caliper Hinge Release Ring

If you have more than three or four weights attached to the Lower Spar, the ‘click-stop’ catch that

keeps the Merlin 2 in the Flying Mode, may not be strong enough to restrain the weight when held out
sideways and the hinge may open. With heavier cameras, get in the habit of locking and unlocking the
Caliper Hinge Release when you unfold and fold the Merlin 2. (That will also prevent it from opening
inadvertently when set down sideways between shots.)

Practice opening and locking the Caliper

Hinge Release Ring.

Note how it prevents the Merlin 2 from
folding inadvertently.

Practice folding the Merlin 2 with the
camera mounted: Secure the Gimbal
up under the Stage; hold the Stage, and
Gimbal with one hand.

Be sure the Caliper Hinge Release is open. Pull
it out to fold the unit, be sure to push it back in
to lock the hinge when in use

Basic Set-up

Swing up the Lower Spar in an arc to

nd it’s notch. Now open it fully into the

Flying Mode.

DON’T RUSH these maneuvers and

pay attention to what you are doing. If
you forcefully fold the unit, for example

and the Caliper Hinge Release is still

locked, or if it’s in the way when you try
to unfold, it could be damaged.

Now watch Section 7 of the DVD, Horizontal and Vertical Trim.

Then continue with the Manual.

21

7. Horizontal and Vertical Trim

Horizontal trim

Trim

You have preset vertical balance and camera position on the Stage, but your Merlin 2 is still unlikely to
be in perfect balance. Let’s see how unbalanced it is, and in what direction.

Grasp the Grip with your right hand and slide up your hand so
you can steady the Guide with your right thumb and forenger.
Steady the upper spar with your left hand and tentatively
release it. It will probably start to tilt over – either to the front,
back or sideways (or both).

Note the direction of tilt.

If the Merlin 2 tries to tilt forward, use your thumb to push up
several times on the Fore-and-Aft Trim Roller.

If the Merlin 2 tilts backwards, pull down several times, and
try it again.

The adjacent arrows will remind you which direction to adjust
each Trim Roller. Use quick full turns.

Each time you trim, hold the Merlin 2 level before you release
it so you can tell if you are getting close. Repeat as needed
until it hangs level front-to-back.

22

If the Merlin 2 also goes off-level side-to-side (which is likely),
use your thumb to push up or pull down on the Side-to-Side

Trim Roller under the Stage.

Follow the arrows. If the monitor side of your camera needs to
come up, push up. If the monitor is too high, pull down.

Remember to hold it level each time before you release. Repeat
as necessary.

Alternate trying to trim fore-and-aft and side-to-side. It is
easier if you don’t try to balance one axis entirely all at once.
Go back and forth from one Trim Roller to the other as you
get closer.

Making a large fore-and-aft adjustment

If your camera is way out of balance fore-and-aft, as might happen if you’re balancing from scratch, it
may fall quickly when released. In that case you may slide the camera forward or backward on the Stage
to get closer to rough balance before trying to use the Fore-and-Aft

Trim Roller.

Don’t grab the Lower Spar if the Merlin 2 falls off-level. Just

slide your ‘Grip’ hand up and stabilize the Guide Ring with
your thumb and ngers in order to keep the Merlin 2 from

tilting too far in any direction.

Keep one hand lightly on the camera to keep it secure and
swing the Locking Lever straight out to the side to loosen
the Dovetail Plate. Now slide the camera backward or
forward until it feels roughly in balance. Then lock it by
swinging the Locking Lever to the rear.

Now touch up fore-and-aft balance with the Trim Roller.

Top-heaviness

If you have trimmed repeatedly and the Merlin 2 never seems
balanced, it may be top-heavy (with the center of mass above the

gimbal). If so, it will never hang upright – it will always try to ip

upside down.

If you pre-set your Merlin 2 according to the Online Cookbook
settings for your camcorder, this condition is likely to be mild, but
even if you balanced from scratch, you can diagnose it as follows:

Hold the Grip with one hand and move the Upper Spar out to one side with the other
hand until the entire unit is horizontal. It will be easy to feel if it wants to keep going
and hang upside down! The stronger this tendency, the more top-heavy it is.

Cure slight top-heaviness by loosening both

Locking Knobs and expanding the Arc Size

with the Caliper Hinge Adjusting Knob (if
you have not already opened it fully).

Basic Set-up

Cure moderate top-heaviness by adding
weights to the Lower Spar.

Note: Both of the above ‘cures’ will alter trim, and you will need to re-balance with the
Fore-and-Aft Trim Roller.

Severe top-heaviness is unlikely if you followed the formula for “weights added vs. weight of camera.”
But the cure is the same: add more weight below. Remember that the Merlin 2 is only designed to

support cameras weighing ve pounds (2.25kg)) or less, and you may need to remove wide-angle

adapters, or heavy batteries.

Excess bottom-heaviness

If the center of mass of the entire unit is too far below the
gimbal, trimming will seem to have little effect and moving
the Grip rapidly to one side will create an obvious pendulum
effect.

Hold the Lower Spar out to the side and let it go

briey to see if it falls rapidly – a sure sign it’s too

bottom-heavy.

Note: Whenever you hold the Spar out sideways and let it fall, be sure to grab it just
as it passes through vertical, and also tilt your Grip hand as it falls, so you do not
forcefully exceed the range of the Gimbal bearings.

23

Trim

Cure mild bottom-heaviness by loosening the

Locking Knobs and reducing the Arc Size

with the Caliper Hinge Adjusting Knob.

Cure moderate bottom-heaviness by removing
weight from the Lower Spar.

Again either ‘cure’ will require re-trimming fore-

and-aft.

Drop test

A Merlin 2 that’s in correct top-to-bottom balance can be moved rapidly back and
forth laterally and it will essentially stay upright! It is technically bottom-heavy,
but only slightly!

Hold out the lower spar sideways and let it go, If it falls slowly, if it takes
a full second (say “Go…one-thousand-and-one”) until it passes through
vertical, in Merlin 2 terms that’s the magic!… That’s just where you want it
to be! This is the famous Drop Test and your Merlin 2 is ready to shoot!

This Drop Test is the way Steadicam operators worldwide discuss and calibrate
the elusive quality of slight bottom-heaviness. Some prefer as long as three or
four seconds for their full-sized rigs to fall through vertical.

Experience, however, has shown that the Merlin 2 works best with a Drop Time
of about one full second.

NOTE: Typically, if the Merlin 2

is not operating properly, 9 times
out of 10 the solution is to correct
the drop time.

The Merlin 2 Gimbal is like the pivot point on a see-saw

There are three ways to change the balance of a see-saw:

• you can change a weight

• you can move a weight

• you can change the location of the pivot point itself

In Merlin2® terms:

• you can add and subtract weights at the Lower Spar

• you can move a weight by expanding or contracting the Caliper Hinge

Once your Drop Time is correct, touch up the Side-

to-Side Trim Roller so the Merlin 2 hangs level on its

gimbal.

And nally, adjust the Fore-and-Aft Trim Roller so

the Merlin 2’s tilt angle helps maintain the headroom of
your shot.

• you can move the fulcrum laterally by Trimming fore-and-aft or side-to-side

• remember that Guide Ring – you can move the fulcrum up or down by counter-clocking,

or clocking the Guide Ring, which is a super-ne adjustment of bottom heaviness.

Check bottom-heaviness with a careful Drop Test. How long does it take for the spar to fall from

sideways through vertical? Now counter-clock the Guide Ring one full turn, and note that the drop time

24

is just a little slower.

Trimming Review

If the camera tilts forward, push up the Fore-and-Aft Trim Roller alongside the Stage several
quick turns (like the arrows) to raise the front of the Merlin 2, and vice versa.

If the camera tilts toward the monitor (to the left), push up the Side-to-Side Trim Roller several
quick turns to return to level. If it tilts right, pull down on the Roller.

In each case, hold the Merlin 2 level and steady. Then, let it go to test your trim.

Perform the Drop Test to check the degree of bottom-heaviness. If it’s top-heavy, the camera will
stay tilted over. If it’s excessively bottom-heavy, the Lower Spar will fall too quickly. Remember
to also tilt your Grip hand as it falls, so you do not forcefully exceed the range of the Gimbal
bearings.

If your Merlin 2 is correctly balanced, slightly bottom heavy, the Lower Spar will slowly fall and
the camera will right itself. The Spar should take just over a second to swing through the bottom
of its travel, like a slow pendulum. Remember to stop it from swinging further by grasping the

Upper Spar.

If your Merlin 2 is very slightly top-heavy (falls too slowly):

Raise the Gimbal by pushing in the small black Latch and rotating the Guide Ring clockwise.

If your Merlin 2 is very slightly bottom-heavy (falls too quickly):

Lower the Gimbal by pushing in the Latch and rotating the Guide Ring counter-clockwise.

Trim Review

Note: The total “Z” travel available is 12 turns counter-
clockwise from fully tightened. When unscrewing the
Guide, watch for the unthreaded band above the threaded
section. When it appears, it is dangerous to further
unscrew the Guide as it may fall out of the socket.

When the camera is level, grasp the Grip with your strongest hand. Remove your other hand from
the unit and try moving your Grip hand from side to side. The camera should remain essentially
level. (If the Lower Spar swings like a pendulum when you stop you may still be too bottom­heavy.)

Put the thumb and forenger of your other hand gently on the Guide Ring above the Gimbal. Try
using your ngers to tilt the camera up and down and to swivel (pan) from side to side. A properly

trimmed Merlin 2 can be panned and tilted with almost no effort on the Guide.

Under most circumstances, you will want to trim to keep
the Bubble Level at the back of the Stage centered,
indicating that your camera’s framing is not tilted to

either side. As you shoot, you will nd that ne-tuning of

both trim controls becomes a familiar, ongoing process.

Congratulations! You have now completed the
Setup part of the manual. Now you are ready for
the fun part,

Operating.

25

If you have performed all set up adjustments in a single session, you may want to take
a break and continue when you are fresh and rested!

Trim Review

As soon as you are ready, watch Section 8 of the DVD:

Then begin reading Part II – Operating in the Manual..

Hand Positions.

26

Part Two — Operating

Please read this manual carefully and keep it as a
reference. It includes a number of useful operating
tips that are not shown in the DVD.

Operating!

The Merlin 2 is not just a stabilizer, it’s a uniquely elegant way to hold a camera at the center of balance,
with the full freedom of your extended arms, and none of the awkward jerks and lurches of handheld
shooting.

With this nely tuned instrument in your hands, trimmed for your shot, moving and booming and

changing positions at your will, genuine moving-camera artistry is within your reach.

And here’s the good news: It’s like riding a bicycle—you’ll never forget the “trick” of how to operate
a Steadicam rig. Once you get it, you have it for life. We’ll show you the same hand and body positions
that allow professional Steadicam operators to make those magically smooth moving shots on Movie
and TV sets worldwide. And we’ll teach you the nuts-and-bolts tricks of the trade – techniques of shot
design and preparation – that help make them possible. We’ll teach you how the professionals setup and
trim for every shot until it becomes second nature, and we’ll show you how to pace yourself and operate
in ways that avoid fatigue.

This is the fun part!

Part Two

The Merlin 2 is versatile, durable and precise, and once you become expert in all its uses, you may never
want to shoot without it.

Cautions

• Handle only works one way. Hold it with your ngers in the grooves.

Holding the handle backwards can cause damage.

• Avoid pinching your nger between the moving gimbal yoke and the

bottom of the Guide. Keep ngertips either on the Grip or on the outer

surface of the guide.

• Avoid violent camera moves. It is possible for a strong operator to move

a Merlin 2 and camcorder at many times the acceleration of gravity but
mounting attachments on some camcorders are not strong enough and
might pull loose. We recommend not exceeding roughly 1.5 g’s of vertical
or horizontal accelerations. (That’s somewhat faster than the speed of an
object falling from your hand.)

• Avoid shooting in windy conditions as the Merlin 2’s stability requires

isolation from all external inuences and its performance will degrade
proportionately. Attempt to shield the camera with bodies or nd the “lee”

of a nearby structure.

27

8. Hand Positions

Two-handed operating position

Hand Positions

This is the smoothest, easiest and most precise
way to operate the Steadicam Merlin 2. The force
to support it is isolated from the camera and the
force to aim it can be almost non-existent. The
camera is free to rotate on excellent bearings.
What’s more, it is highly inert! The combination
will provide you with an entirely new sensation
as you orient an object that acts as if it were

oating in space. (Ignore the weight and you can

almost believe it!)

One hand (your choice) holds the Grip and
supports all the weight. You can’t pan or tilt with

that hand and it has no inuence on the camera’s

angle unless you bump the stage or upper spar.
This is the hand that ‘Flies’ your Merlin 2
through space and avoids contact with anything
(legs, elbows, clothing, furniture!) that could
disrupt your shot.

Inertia

Remember that the Merlin 2 is both inert and
free to rotate. This means that you must think
ahead if you want it to start panning and begin
early, with the smallest force possible. Also
remember to stop the pan – the Merlin 2 obeys
several of Newton’s laws, such as the one about
“remaining in motion.”

Use your thumb and nger like a drum brake
to stop a pan, releasing the pressure the instant
the camera is aimed where you want. Let your

wrist bend a little to stay out of the way of the
spars. The inertia of the Merlin 2 makes it hard

to react instantly – try to anticipate your moves.

NOTE: If your

Merlin doesn’t
feel right, or
you are having
trouble at this
point, please
reference the
Troubleshooting
section on p 42.

The thumb and two ngertips of the other hand

lightly touch the Guide Ring and the Tongue
when you want to change where it’s pointing,
and otherwise more or less leave it alone.

In other words: barely touch it as long as the
framing is correct and use minimal force to re-
aim as necessary.

Two-handed support

Try not to let your operating hand touch your

support hand unless you need help holding

up a heavy camera. In that case, you can hook
the pinkie of your guiding hand in between the

ngers of your gripping hand, (like a modied

golf grip), and help support it with the operating
hand, while still maintaining that light and

isolated nger contact on the Guide.

One-handed operating position

Slide up your hand on the Grip, so that your

second nger is just below the notch.

Hold the Grip strongly with you second, third

and little nger. Your thumb and rst nger can

just reach the Guide and contact it lightly and
intermittently.

Use your entire arm as a crank when you

pan, while you intermittently accelerate the

Guide with your ngers.

28

Tilt by keeping your forenger crossways as

shown so it won’t also induce unwanted pan
rotation, and use your entire arm as a lever,

re-setting its angle relative to the guide, as you
intermittently hold and let go the Guide with

nger and thumb. (This is esoteric stuff – check

the DVD for this one!)

One-handed operating is not as precise as

two-handed, but it can be extremely useful
when you need a free hand to open doors, move
extras out of the way or hold a sandwich. It is

9. Body Positions

Forward mode (aka ‘Missionary’)

invaluable for extending your reach, particularly
for shots high over your head, moving through a
crowd, or for shooting way out to one side, so it

is denitely worth practicing.

Body Positions

REMINDER: Correct Trim is

essential for both one- and
two-handed operating. (See
Section 6.)

Missionary is what Steadicam operators have
called the basic Forward Position since the
earliest operating workshops in Rockport,

Maine in 1980. It is dened as operating with
the camera aimed roughly in the same direction
as the forearm of your guide hand. Try it two-

handed.

Hold the Grip with one hand (your choice), the

Guide with the other.

Stand with the camera facing ahead but don’t

hold it way out in front of you.

Shift camera to either left or right, so the spar

settles in beside your body. Either your “grip” or
your “guide” hand will now cross in front of your
body. Practice on both sides. Be sure not to bump
yourself with the lower spar.

Trim the camera to hang level and try a walking
shot. The fastest way to get the “trick” of
isolating your Merlin 2 from all unwanted
movements, is to walk rapidly for a city block

or so. Steady it once you are in motion and then
virtually let go with the “guide” hand, even if the
framing wanders a bit, even if it ends up looking
sideways.

As you walk, gradually touch the Guide more
frequently, so it begins to point where you want,
and then continuously, but ultra-lightly.

Learn to avoid that over-controlling death-grip
on the Guide (the symptom is unwanted lurching
of the frame side-to-side).

Forward Position is for easy straight-ahead

shots and shots looking to either side. This is
your standard, everyday, meat & potatoes shot
and it’s how you’ll operate Merlin 2 90% of the
time,

You can approach or follow somebody, and even

when you’re backing up, it’s still the ‘Forward

Position’ if the camera and your guiding forearm
are pointed mostly the same way.

Forward Position ranges from the camera pointing forward to the operator’s right side, as he
walks forward or backwards.

29

Body Positions

Reverse mode (aka ‘Don Juan’)

The Don Juan was also whimsically named circa
l980, and it’s still what the professional operators
in 40 countries call the other major operating
position: the Reverse Position, dened as
operating with the camera aimed roughly in the
reverse direction as the forearm of your “guide”
hand. Try it two-handed.

Assume the Forward Mode as shown

above…

Pan the camera to the rear without moving

your body. Flex the wrist inward as necessary to

avoid bumping the spar. But it’s the same nger

position on the Guide. It is exactly like Forward
shooting except the camera is pointed in the
opposite direction and you must turn your gaze
sideways to see your monitor. Keep your head
angled down as shown—it lets the widest arc of
your peripheral vision see the path ahead of you.

Reverse Mode is for when you need to shoot

backwards, but also want to see where you’re
going. Following people is easy but can be
boring. Shots that precede people are friendlier
because you see their faces. Reverse shooting
helps you avoid bumping into things or falling
down. It’s a very common Steadicam shooting

mode, used in thousands of feature lms and lets

one precede the action, sometimes at high speed,

and even up and down steps, but it denitely

takes practice.

Note: Reverse Mode shooting can be

dangerous if you lose your footing or
get too involved with your shot to notice
where you’re going.

DO NOT attempt a Reverse

Mode shot without rst

scouting the terrain for
obstacles and hazards your
peripheral vision might miss.

Reverse Position ranges from the
camera pointing backward to the
operator’s left side, as he walks
forward or backwards.

Remember, your camera is not connected
to you, so it no longer has to point the
way you’re headed.

30

Boom Height

Another essential technique for Steadicam
operating is Booming. In many instances it is
easier to control headroom on your subject by
adjusting camera height rather than tilting.

Note: Booming moves do not affect the
angular isolation of the camera.

Boom high for shooting adults

Boom low for correct headroom for kids. This

lets you see the world from a kid’s perspective,
rather than looking down on the top of their
heads.

Boom up as you approach your subject (instead

of tilting) to maintain correct headroom.

Boom up and down if the height of the

ground is changing between you and your
subject. Example: You are following someone
who steps off a curb. Boom down as they lower
in your frame. Boom up when you step off the
curb because your subject will appear to be
rising in frame. The Merlin 2 is an inert object

and tilting rapidly is difcult. Booming is easy

because moving the Grip hand straight up or
down has no effect on the camera’s angle and
can be done as quickly as you like.

monitor screen as needed and experiment with
raising and lowering the height of the camera
and notice the effect that it has on your shot.

When you boom up and down, make sure that
the operating hand (on the Guide) rises and falls
right along with the lifting hand (on the Grip). In
fact, when booming, it’s helpful to let both hands
remain slightly in contact with each other so they
can move in sync.

Combo Tilt/Boom Shots

Working with, rather than against, the unique
nature of any
Steadicam rig, large
or small, will make
your shots as easier
to obtain. Booming
is easy. Tilting is

difcult due to the

increased inertia of
the tilt axis.

Combine booming and tilting: raise the camera
part way when tilting up, lower it when tilting
down – it keeps your hand positions less radical

and your shots more precise.

Basic Set-up

Note: Your framing is the sum of the tilt
angle and the boom height.

Experiment with different combinations. A low­angle shot (boomed low, tilted up) can be much
more dramatic than the usual eye-level stuff.
A high-angle shot (boomed up over your head,
tilted down) looks great for similar reasons.
Don’t always just shoot at the conventional
hand-held lens height. Adjust your camera’s

Body Clearances

Learn how to avoid bumping your body or

clothes with the spars and the weights.

Bend your elbow out sideways to avoid hitting

the Merlin 2 as you boom up.

Flex your wrists out of the way of the spars as

you make extreme pans to either side.

Almost any contact with the lower spar can ruin

a shot, but giving the Steadicam a bit of “ying

room” will soon become instinctive. Be extra-

conscious of clearance at rst, and after a few
days of practice you will nd that you almost

never bump into things.

31

10. Extreme Trimming

Extreme Trim

• trim up slightly to maintain headroom

for tall people

Trimming for Shots

Steadicam operating is radically different from
almost every other human activity—including
normal camera operating! It requires a number
of unusual moves and techniques such as

trimming, so the desired headroom can be

effortlessly maintained.

Side-to-side trim should be checked every few

minutes to conrm that the Merlin 2 is hanging

approximately level (check the bubble). The

balance required is so ne that it can never be set

permanently. In addition the Merlin 2’s multiple
joints and articulated moving parts may cause
folding and unfolding operations to affect trim
and require a slight touch-up.

Professional operators tweak fore-and-aft trim
between almost every take so the camera’s exact
attitude can help get the shot, rather than hinder
the framing.

Remember that trimming is approximate, never

perfect, so don’t fuss with it. Get it roughly
correct and try a take. You may want to trim
differently make some other part of the shot
easier to get.

Note: Don’t try to tilt or pan the Merlin
2 by grabbing the spars. It ‘re-connects’
you to the camera, and will not be much
more stable than ordinary hand-held
shooting.

Extreme Trimming for Extreme

Angles

If your entire shot requires an extreme angle of
tilt (like up to a cathedral ceiling or down from a
high balcony):

32

• trim down slightly for shorter people

Use quick full turns of the trim rollers—

it’s a ne micrometer adjustment, and

otherwise would take forever.

The Merlin 2 stabilizes best when trimmed so
you could let go with the guiding hand and the
camera would stay where you want it. If not, the
camera must be continually forced up or down
to hold your shot and would tilt the moment
you let go. It is axiomatic that human beings

cannot exert a constant force – but they can
exert no force – constantly! Your shots are much
more stable when you don’t have to walk along
holding the camera above or below the tilt angle
it’s trimmed for.

Make Tilting Easier

For shots that may tilt both up and down, we
suggest reducing bottom-heaviness by counter
clocking the Guide Ring and increase the drop­time – which will make it easier to aim up or

down with just nger pressure – and just trim
fore-and-aft for the most difcult part of the shot.

Don’t be afraid of radical fore-and-aft

•

trimming, so the camera holds the desired
position for you. It may take a dozen or
more quick turns of the Trim Roller –

it’s a very ne micrometer adjustment

–to achieve this. If many turns is not

sufcient, it suggests that your Merlin 2

may be too bottom heavy. Counter-clock
the Guide Ring several turns and try
again.

• Don’t forget to re-trim afterward for

normal shooting! It’s like keeping a guitar
in tune. It will get to be second nature!

11. Stairs

Stair shots can look great and be easy to shoot,

if you:

Reduce bottom-heaviness by counter-clocking

the Guide one turn, and then trim for the average
angle required for going up or down, including
any landings.

Boom up and down to make additional

adjustments for headroom.

(Your subject will rise and fall in your frame
because you both cross-landings at different
times.)

Trimming & Booming for Stairs

If you’re following someone up the stairs (in
Forward Mode), trim the Merlin 2 so the camera
tilts slightly up and then use the boom range of
your arms to maintain headroom – it’s easier,
faster and more intuitive than constantly trying
to tilt to compensate for the rapidly changing
framing. Booming can also be more accurate,
and has the additional virtue of providing the
least radical camera angle at any moment.

This can help you avoid
the less-than-elegant
look of following
someone’s posterior
wide-angle from below!

If you’re preceding
your subject, shooting
downward, looking to
the rear, for instance, in
the Reverse Mode, trim
the Merlin 2 down and
likewise use the boom
range of your arms to
avoid radical angles
down on someone’s
bald-spot!

This is an advanced
technique, so don’t try it
in earnest until you have
enlisted a stand-in and
gotten lots of practice!

Basic Set-up

12. Shooting and Resting Positions

The Steadicam Merlin 2 plus camcorder weighs
a few pounds. It acts weightless but of course it
isn’t and it can tire your Grip arm fairly rapidly
(though it gets easier with practice). Here are
some tips to help with fatigue:

Share the load by also supporting the Grip with

the little nger of your “guide’ hand. Slip your
pinkie underneath the ngers of your Grip hand

and share the load. You can still operate up above

with the lightest touch of thumb and nger on the

Guide.

Rest the elbow of your grip hand on a chair

arm, a table or your knee whenever you don’t

have to move the camera — you can easily y up

and away from those rest positions without any
visible bump in your shot!

Shorten your moving shots — use cuts between

a series of moving and static shots.

Change hands to share the load. Practice

changing hands safely to avoid dropping your

camera. One way is to shift up your “Grip” hand
to the “one-handed” position, and release the
Grip as your other hand takes over.

Hold the Merlin 2 as close to

your body as possible. When
shooting in either the Forward
or Reverse Modes, hold it right
beside you instead of out in
front. Stand sideways to your
shot whenever possible so you
can keep it closer, and be extra­careful not to bump the spar
against yourself when working
that close.

33

Shoulder Modes

Docking and Carrying

Positions

The Merlin 2 can also rest on your shoulder and
still act as a brace for conventional hand-held
shooting:

Open the caliper hinge release and swing the

Upper Spar up into the travel mode underneath
the stage.

Set the end of the weights on your shoulder

(make sure the Gimbal is out of the way so it
doesn’t get damaged).

Adjust your viewnder screen and control the

lens as usual. The mass and braced position of
the Merlin 2 will provide extra stability for hand­held type telephoto shooting.

Merlin 2 can be quickly set-down between shots
as follows:

Stow the Gimbal underneath your Stage and set

the unit down on a table (or other at surface)

that has room underneath for the Lower Spar to
dangle.

Cushion the Tongue (the hard extension below

the Guide Ring) to avoid damaging the furniture;

and be sure that it is in a safe area and will not be
bumped by passers-by.

Another version of Shoulder Mode is
even handier:

Press the fully-open Merlin 2 against your torso

by holding the Caliper Hinge with your left hand

Insert your right hand

through the camera strap
to secure the camera
and operate the lens
conventionally.

You may be able to have

your eye on the viewnder in

this mode, yet, with practice,
you can learn to reposition
your right hand onto the

Grip and ‘y’ away from this

position to continue shooting
Merlin 2-style.

Rest by docking the Gimbal

and placing the Merlin 2 on
your shoulder.

The Merlin 2 can be conveniently carried for
long distances between shots as follows:

Unlock the Caliper Hinge Release

Fold it into Traveling mode and simply hold the

camera’s hand strap with the lens facing forward,
and off you go.

34

This is also the smallest conguration for

temporarily stowing your camera and Merlin 2
in a case. However, we recommend removing

the camera by unlocking the Dovetail Plate, for
long-term storage or shipment.

13. Vehicle Shots

Steadicam rigs in general and the Merlin
2 in particular can provide superb camera
stabilization in moving vehicles — riding in a
car or hanging out the back
of an ATV or a pickup
truck. You’ll see the world
smoothly from virtually any
non-violent conveyance
(including our new

‘HandsFree” version of the

Segway Transporter), or
you can include your fellow
passengers and reveal the
true motions of the vehicle
in the foreground.

WARNING: We do not

recommend using the
Merlin 2 on risky stunt shots.

The concentration required
for operating increases the
likelihood of accidents involving
yourself and your equipment as
well as the people around you.
In stunt-type shooting situations,
operate at your own risk.

Vehicle Shots

Vehicle technique is similar to normal

Steadicam shooting except that long periods of
vehicular acceleration will make even a slightly
bottom-heavy Merlin 2 try to go off-level.
(Humans on foot rarely get up to 50 mph!) The
solution is to reduce bottom-heaviness even
further by counter-clocking “Z” trim ( the Guide
Ring) one or more turns so that the camera acts
less like a pendulum, and diligently control level
with the your operating hand.

Two-handed shooting with a light touch on

the guide works best. Support the Merlin 2 with
one hand, pan and tilt with the other and let the
Gimbal take out the angular shakes. Be sure you
are securely seated and/or belted in, or:

Hold on with one hand and operate one-handed

if there is any chance of falling off or hurting
yourself, such as on boats, on bicycles, on
horseback, etc.

One-handed operation is also recommended

for ‘vehicle’ shots that require personal agility

and balance, such as skiing, skating, riding
horseback, running-with-the-bulls, etc.

Do not subject anyone else
to danger, and be prepared
to lose both camera and
Merlin 2, in case of a mishap.

WHEN IN DOUBT, TOSS
AWAY THE GEAR AND SAVE
YOURSELF!

Rehearse vehicle shots whenever possible:

Have a trial run without the Merlin 2 and
make sure you can remain in contact with your
driver, drover, pilot or mahout. Make sure these
persons will not exceed the speeds you arranged
beforehand, no matter what, and immediately
slow or stop the vehicle if asked. Cornering
and braking can generate a lot of force. Don’t
exceed 1.5 “g’s” of force on the Gimbal in order
to avoid damage to either the Merlin 2 or your
camera.

Clear space around you, so there is room for

the Merlin 2 to avoid bumping anything as the
vehicle moves up, down and around you! Even

a minor collision with the Merlin 2’s spars could
subject the Gimbal to many ‘g’s’ of force.

Relax your arm to make as exible a ‘spring”

as possible. Don’t be alarmed if the Merlin 2
mysteriously moves up and down. It is just
obeying Newton and trying to stay at the same
height above the center of the Earth as the
vehicle rises and falls!

35

14. Merlin2® Technique

Technique

Good technique can make your shots much

easier to get.

Lack of technique can make them nearly

impossible.

Moves & Results

Watch section 14 in the DVD. It is a ‘wordless

workshop’ of Steadicam moves, along with the
picture-in-picture results. Play it several times
and compare the physical maneuvers of the
operators with the shots produced. You’ll be
surprised at the amount of ground covered, and
the magnitude of the booming moves involved in
these simple-but-elegant shots!

Here are some general tips:

Design shots based on

ideas – even bad ideas.
There is no substitute for
planning and rehearsing, or
at least trying to think a bit
ahead. Otherwise you are
just looking and reacting at
random.

Start the camera moving

with your arms, and move
your body an instant later.

Stop your body rst when ending a move, and

ease the camera to a stop a moment later.

Walk with your feet along an invisible straight

line – your arms will not have to compensate
side-to-side for the weaving of your body.

Think ahead about panning. Think ahead about

stopping your pan! (Watch objects at the edge of

the frame to be sure your shot doesn’t ‘backlash’

and remains still.)

Don’t crowd your subjects, except briey for

effect – stay back as much as possible. Vary the

gure-size from an over-the-shoulder or a close­up ‘bust shot’ to a so-called ‘knee-gure’ (mid­calf to above head), to a full-gure (including

the feet), to a wide shot with your subject small
in the frame, but don’t stop on an in-between

framing – it’s a convention of movie composition
to not cut subjects at the waist or ankles.

Vary subject sizes, speeds, directions. Perfectly

stabilized tracking shots can still be lifeless, even
boring at times, without some variation – keep
them alive, breathing and unpredictable.

Schedule your Attention Cycle. That’s

how professional operators concentrate their
momentary attention to squeak through all the
simultaneous hazards and opportunities that
make for great Steadicam shots.

Since framing is, at times, the least volatile
element, due to the inertia of the Merlin 2, one’s
attention can cycle between headroom, level
(look at the bubble!) navigating (watch out for
that curb!), and framing, etc. This can be quite
absorbing.

In addition, you must pick the best moment
to look from one element to the next – check
the bubble when your framing is not changing
radically and vice-versa and make sure your
Attention Cycle gets around to Navigation in
time to avoid the alligators! After watching a
Steadicam master at work, calmly lugging a 70lb
(32kg) rig through a diabolical shot, you may
conclude that he or she has really earned that big
salary!

Use your peripheral vision to see what’s going

on outside the frame; not only for navigating, but

also to help plan where your shot should go next
and anticipate encounters with actors, extras and
vehicles.

Practice keeping the edges of walls and

doorways just in frame as you turn corners).

Reach laterally with your arms to help make

quick framing adjustments instead of panning
– as you might boom instead of just tilting.
And if moving subjects speed up or slow down
unexpectedly, use your arm reach to instantly
vary the speed of the camera – you’ll react more

36

quickly than by accelerating or decelerating your
whole body.

Relax your “grip” arm, and let it ex so you

can sense the direct path of the camera, even if
you are bouncing up and down on stairs or rough
ground. Counter your body motions by, in effect,
booming up and down in the opposite direction.

Practice ying the Merlin 2 smoothly above

a railing or alongside a banister as you climb
stairs, so you can see in your monitor when
you are successfully isolating the camera from
yourself!

Use your senses to navigate. Seems

obvious, yes?—what else are you going to use?
Well we just want to remind you of a couple of
non-obvious sensory possibilities:

• Use a foot to reach out and locate

obstacles and identify doorways, etc. when
backing up or shooting blind.

Shooting Opportunities

Experiment with longer focal lengths. Shoot

mid-telephoto. With a little care, you can make
some amazing moves and shoot close and
complimentary shots of people without having
to be right on top of them. Plus, today’s amazing
auto-focus circuitry can keep them sharp.

Basic Set-up

• Check your auditory circuits now and then

for voices whispering useful suggestions
like “watch out!” (You’ll be amazed.
Steadicam operating is so absorbing that
you may become oblivious to car horns,

explosions and the word ‘Cut!’)

• Use what boaters call a “range” by

memorizing the visual alignment of a near
background object with a far-background
object (such as the corner of a chair lining
up with a distant wall switch) just as you
are about to back through a doorway. By

denition, spotting such a visual alignment

means you are on the exact same path every
time.

• Scout the terrain without the Steadicam rig

if possible before you shoot, so you aren’t
unpleasantly surprised by the unexpected
cliff, pit, low doorway or mad dog.

Level control. Trim will only provide a basic

tendency for the camera to hang level side-to­side. It is up to you to keep your shots level by
paying close attention and controlling the guide.
Here are some tips to help you manage this:

• Check the bubble whenever you are

moving in a straight line – it will not be
accurate when you are cornering.

Walking zooms.

Pick a good focal
length and use your
legs to approach
and depart! Unlike
optical zooming,
actual approaches
and departures have
a pleasing three­dimensional effect and
emphasize foreground
objects as they grow
(or shrink) faster than
distant backgrounds.

Pass the Merlin 2 close to people’s faces and

they probably won’t shy away as they might if
you came at them with a camera covering your
own face. They understand that it’s a hand-held
object, that you have binocular vision, and you
won’t bump into them — the result can be some
wonderfully affecting pass-by shots.

Hand focus. Merlin 2’s various shoulder-

modes let you “pull” focus by hand. Many
of today’s camcorder owners have never
experienced the fun of hand-focusing fast­paced telephoto shooting! Use all your senses
to determine the next move of your subject.

Humans can still “pull focus” faster and more
accurately than most auto-focus devices.

• Control the slight tendency of the lower

spar to swing outward when you are
cornering. Imagine that you are holding a
stick upright, and let your hand tell you if
it’s level.

• Watch the monitor screen to see that

vertical objects such as door frames, appear
vertical as they pass by the center of your
screen. Remember, verticals may not appear
vertical at the sides of the screen if you are
tilted it all up or down!

Digital stabilization. So-called ‘digital

stabilizers’ and optically stabilized lenses work
well to eliminate vibrations, but are useless
for the large-scale bumps that occur when
you attempt to walk, run or climb stairs. We
recommend turning them off unless you intend
to make telephoto moving shots, which can be
very pleasing, and surprisingly easy to obtain if
you make clever use of your camera’s auto-focus
circuitry. Even without internal stabilization, the
stiffness and rigidity of the Merlin 2 encourages
shooting at surprisingly long focal lengths.

37

Technique

38

One-handed

comfortable, can allow you to reach higher
with the camera and further out to the side. It
is essential for opening doors, or for including
yourself in a shot!

operating can be quite

Hand-offs (passing the Merlin 2 to another

camera person) can be useful, but please practice
and be careful not to drop the things in the
process.

Shot geography thrives on familiarity. Scout

the terrain, visualize your shot by eye, sneak
furniture and props out of your way, be aware
of lights that might encroach, and rehearse,
rehearse, rehearse until you can get through it
blindfolded.

Control the size and speed of foreground

objects in your frame. Use your eyes. Watch the
monitor closely and make the dynamics of your
frame as satisfying as your composition. The
moving camera makes two-dimensional images
appear to be three-dimensional.

Panning, Whip-Panning & Dynamic

Balance. Panning accurately is an art, and

panning rapidly is pure magic, when you
can start and stop on a dime, even in during
a complicated move. Here are some useful
techniques:

• Establish a pan rate and go with

it! A good trick, not explained in the
DVD, permits ultra-smooth telephoto
shots circling 360 around, for example, a
dancing couple. Try a mid-telephoto focal
length such as 20mm. Begin circling at a
distance that looks promising. You have
now automatically established a “pan rate”
which the Merlin 2 will continue on its own
if you were to let go of the guide. Continue
circling, and use your walking speed to keep
your subjects centered in frame! The camera
will continue its slow pan – you just have to
keep up!

• Practice Whip Pans (lightning fast

pans). Start with slow 180˚ pans – always

from a given start frame to a consistent
stop frame, and gradually speed them up.
Do hundreds of them! (I’m serious!), and
master the technique at each speed before

going faster; and faster; and faster!

Whip Pans are extremely difcult, even

on a tripod, but are particularly satisfying
and useful on the Merlin 2, since you have
the option to change the cameras height or
position during the whip!

Starting a rapid whip is relatively easy. Be

sure that your thumb and nger pressure

to start the Guide turning is level and
consistent. The trick is stopping the pan
where you want, and without backlash due

to ex in the skin of your ngers – success
requires releasing all nger pressure at the

instant you stop the pan so the inert Merlin
2 will sit still on your desired frame!

Whip pans are a terrically dynamic

technique and worth ardent practice to
master. Even a Steadicam Master can

sometimes be seen having a few ‘practice

swings’ to get his hands and eyes adjusted
to the day’s exact conditions, since even the
humidity can affect whip pan performance!

• Dynamic Balance helps keep fast pans

from ‘precessing’ off level. If your camera

also tilts a bit when panned rapidly, dynamic
balance can be experimentally achieved by
opening the Dovetail Locking Lever and
sliding the camera slightly forward or back
on the stage. Then re-lock and then re-trim
the Fore-and-Aft Trim Roller the reverse
distance to restore level trim. Try adjusting
camera position on the Stage in small

increments until it ‘behaves’ when panned

rapidly. Good Luck! Keep at this one – it’s
worth it!

Wind. Professional Steadicam operators

get nervous when they hear a windy weather

forecast. It is an “outside” inuence that can

make your camera hard to control. The only
way to help the Merlin 2 in wind is to shield the
camera by using your body or someone else’s,
or by staying in the lee of buildings etc. When
shooting directly into the wind, try to stand
in front of large objects (or several people) to
“backstop” the wind so it doesn’t rush directly
past your camera.

WARNING: Stunt shooting

and leaping over cliffs with the
Steadicam rig is tempting but
remember: it’s only a movie.
We don’t advise trashing a
thousand-dollar camera or
breaking your leg—even for
the “Shot of the Century!”

Home Shooting Tips

BIRTHDAY PARTIES

Sit on the oor among very young children as

they play around you. Relax and take the load
off your arm by bracing your elbow on your
knee. Watching both inside and outside your
frame for the next good moments—remember

you are free to move your camera nearly ve feet

from side to side with your arms without even
getting up!

yourself dribbling the ball, Merlin 2 offers unique
advantages. It can be moved with great speed,
yet isn’t massive enough to be dangerous. You
only have to remind yourself now and then to not
pull too many “g’s” as you follow the action right
up to the basket!

Basic Set-up

FAMILY TRAVEL

Family travel becomes a group activity again
for the whole family when the person with the
camcorder isn’t left behind. You can keep up,
shooting what everybody sees as they see it,
holding back just enough to let them enter your
shots as you capture all the
dialogue close up. A camera

which is mobile from within
a group has a much more
intimate and friendly feeling
than one on the sidelines.

Trains, cars and buses
become magical platforms for
seeing the world smoothly,
instead of the bumpy
vibrating embarrassments that
plague typical screenings.

Circle the birthday table, mid-telephoto. Once

the kids get used to you, you can cruise up on
wonderful spontaneous moments, the sound will
be excellent because you aren’t shooting from
across the room.

Hold the camera out right into the middle of

the action. Party games look great with Merlin
2, and intimate wide-angle shots at your kid’s
eye-level can hold the birthday boy or girl and a
number of friends in the frame at the same time,
with the relative emphasis you select.

HOLIDAYS

Christmas, Hanukkah and summer vacations
all provide priceless opportunities for Merlin
2 shooting. Go caroling, hunt Easter eggs, run
on the beach—document your life in a way that
looks more like the movies and less like amateur
night. Traveling shots made on professional

dollies and cranes can look terric, but the very
bulk of the equipment makes intimacy difcult

to achieve. You can have closeness as well as
smoothness, and effortlessly be there for the
moments that really count!

SPORTS

Whether you’re covering professional sporting
events from the stands in shoulder-mode, or
shooting family contests or even watching

Professional Uses

The advent of DV and HDV formats have
thrust camcorders into contention for high-end
professional applications. Cameramen who have
spent their lives working with large crews are
becoming fascinated with ultra-light cameras and
their auto-color-balance, auto-iris, and auto-focus
circuits that, if used intelligently, can deliver
excellent results. The resolution is “broadcast
quality” yet the small size encourages an entirely
new style of shooting. Steadicam Merlin 2 is the
most compact and versatile way for the pros to
get the smooth traveling shots they’re used to.

WEDDINGS

Nuptials are seldom photographed with moving
cameras, except those involving hereditary

monarchs, heads-of-state, lm stars and friends

of Steadicam Operators!

Walk up the side aisle, mid-telephoto, parallel

with the bride and her father as they move up
the center aisle. You will pass rank upon rank
of wedding guests craning to see them – those
near you are looking away from camera, those
on the far side are looking toward you, and the
bride and her Dad reappear between each row
as the central motif of your shot, glowing and
emotional in a way that could not otherwise be
recorded.

39

Rush back down the aisle after the ceremony,

ahead of bride and groom as the well-wishers
lean out to see them sweep by.

Turn on the lights, let the camera auto-color-

balance, but pre-set manual focus for at least
ten feet.

Technique

Move along the receiving line, shoot 360°

circles around the groom and the bride’s mother
dancing at the reception, use your optional

“Obie” light to bring up couples on the oor.

The possibilities are limitless.

DOCUMENTARIES

Merlin 2 is the ultimate documentary tool.
It is uninhibiting and unobtrusive. Add its
unparalleled mobility and tripod-like pauses,

and you have a potent, versatile
way to record or persuade or
to simply witness processes
and events that would leave
traditional methods of
production far behind. The
Merlin 2 can represent the
“eyes” of a distant CEO in
the hands of a trusty local
manager, and will perhaps soon
be to “desktop video” what
the Macintosh was to desktop
publishing!

REAL ESTATE VIDEOS

The difculties of making good real estate videos

cannot be overstated. Don’t just grab your
Merlin 2 and race through a house. If you want
to sell your house, or help a friend sell a house,
here are some tips:

Practice extensively; shoot several houses

and examine your playbacks before attempting
this professionally.

Plan moves that can elegantly reveal the oor

plan and layout.

Pan slowly, without touching the guide,

turning yourself along with the Merlin 2, for

ultra smooth, 360˚ views of rooms—and also

try moving slowly around the perimeter to
enhance the effect.

Boom during slow pans to allow coverage of

high and low room details without needing to
tilt, thus preserving the maximum isolation of
the camera.

Turn on house lights, even in daylight.

Select manual iris for your camera, if

available, set it to preserve interior exposures
despite “hot” windows, Select manual focus
and set it to a hyperfocal distance of about
10’ if your camcorder’s auto-focus tends to
wander. Rehearse and playback with auto-color
balance, or try a manual color-balance in half

tungsten/half daylight. This will yield a “lm”

look with the outdoors appearing bluish and the
interior lighting not excessively warm.

40

Plan and rehearse your shots in advance and

play them back to see what needs changing.

Slow down. Imagine that your traveling shots

are being done on a slowly moving camera dolly.

Stop already! Don’t neglect still shots.

Connect the rooms in the viewers mind, to

show them the layout.

The Moving Camera

Those conceptually interested in the Moving Camera can
read further at:

http://www.garrettcam.com/

FEATURE FILMS

Famous director/camera auteurs are embracing

DV and HDV formats for their ‘personal’

features because of the total control, the
intimacy, the spectacular low-light possibilities,

the affordability of the ‘raw stock’, and the

almost invisible nature of the gear – and the
Merlin 2 is poised to be their one indispensable
tool!

15. Accessories

The Tripod Adaptor Plate (included)

screws onto your tripod and accepts the Merlin

2 dovetail plate; so you can switch your camera

instantaneously back and forth between tripod
and Merlin 2. Simply unlock the Dovetail Plate

and remount it onto
the Tripod Adaptor.
Then be sure to return
it back onto the same
mark on the Merlin
2 stage so your fore­and-aft trim will be
retained.

The Obie Light (optional), otherwise known

in the movie biz as a “basher” or “eye light”, was
invented by the cameraman, Lucien Ballard and
named for actress Merle Oberon. It is highly
useful accessory for Merlin 2 shooting. Since
Steadicam tends to cruise in close proximity
to people, the “Obie” gives you just enough
beautiful illumination to properly expose eyes
and faces without blowing out the true ambient
lighting in the room.

Try it at parties to “ll” people in the middle

of typically lit rooms It is useless outdoor
or in bright environments, but it perfectly
complements the excellent low-light
performance of today’s camcorders. The Merlin
2 Obie Light contains a 3 watt halogen bulb and
is powered by two re-chargeable lithium-ion
AAA batteries (included), and an included AC
charger.

• Add a small weight to the lower spar.

(the Z-axis adjustment of the Guide is
the easiest and requires no additional

trimming, so try that rst.)

3. Touch up the fore-aft and side-to-side trim
for level and the fore-and-aft trim for your
intended shot.

Accessories

CAUTION: If accessories bring the weight of the camera

over ve pounds you will exceed the recommended

capacity of the Merlin 2 and risk stress to the Gimbal
and the Caliper Hinge.

DO SO AT YOUR OWN RISK.

Optional Accessories

801-7125 Merlin Camera Controller:

ts standard Merlin and Merlin 2

stabilizers. Enables you to start/stop
recording plus control zoom and
autofocus with no telltale bumps.
Complex sequences can be shot and

edited on the y in real time which is

then ready to hand off to clients.

801-7908 Merlin DSLR Travel Bag

Adding & Subtracting Accessories to

the camera involves some rebalancing and re­trimming. Don’t worry, it’s easy to do.

Here’s a reminder:

1. Restore rough X-Y balance by adjusting
the side-to-side and fore-and-aft Trim
Rollers. (If you added a wide-angle
adapter to the lens, push the Trim Roller
up. If you added a larger camcorder
battery to the back of the camera, pull the
Trim Roller down. Adding both at the
same time, may compensate for trim, but
you must still correct bottom-heaviness.)

2. Depending on the amount of weight added
(in order of magnitude):

• Screw in the Guide Ring,

• Decrease the Arc Size by adjusting the

Caliper Hinge, or

801-7900 Merlin 2
Docking Bracket

801-7910 Merlin 2
Display Stand

801-7940 Stage
Weight Bracket

41

16. Troubleshooting

Troubleshooting

TROUBLE OPERATING

If things don’t feel right, if your Merlin 2 doesn’t
seem to behave like the ones in the DVD, check
out these possibilities.

Yawing (rolling). Merlin 2 is probably

excessively bottom-heavy, a too-rapid pendulum.
Try counter clocking the Guide Ring until the

‘drop-time’ approaches one full second. Once

trimmed, side-to-side, don’t let the camera

‘swing’ – use a light touch on guide to keep the

camera level.

Erratic, unsmooth. Excessive nger

pressure on the guide—use a lighter touch, and
almost let go if the shot needs no correction.

Off-level. Trim side-to-side, and pay more

attention to the bubble level until level shooting
becomes second nature (if that doesn’t work, see
WON’T STAY TRIMMED below)

MECHANICAL TROUBLE

Won’t stay trimmed. This may indicate that

your Merlin 2 isn’t bottom heavy enough—
screw the Guide Ring in clockwise a turn or
two and check the drop time. Note: trim is not
a cure-all, nor is it necessarily permanent, after
folding and unfolding—your guide hand must
ultimately keep your camera level.

2. Possible dirt in Gimbal bearings—unscrew
the Guide Ring fully to remove, and blow
dry the Gimbal with “Dust-off” dry gas.
Reinstall. If this doesn’t work, pack the
Gimbal handle assembly carefully and
send back to Tiffen for service (see contact
information on page one). (Use of Merlin
2 in sandstorms, etc. not recommended).

3. Possible bent gimbal components – return
handle assembly to Tiffen for replacement

– Avoid violent panning moves

above 1.5 “G”!

Guide won’t lock (rotates freely). Broken

detent on guide – tape with electrical tape to
temporarily prevent inadvertent rotation of
guide during panning. Return to Tiffen for
replacement.

Avoid ultra violent panning moves.

17. Maintenance

During normal operation your Merlin2 should
require minimal maintenance. Spar, Stage,

Hinge and Dovetail Lock tightness should be

checked occasionally.

42

Inadvertent pan/tilt shake or drag.

1. Check that Upper and Lower Caliper

Locking Knobs are tightened.

18. Glossary of Steadicam® Terms

Attention Cycle: sequential check of framing,

level, navigating, etc., that helps Steadicam
operators get tough shots.

Basher: self-powered ll light, aka “Obie”,

“Eye-Light” – which is optional with Merlin 2.

Boom: to smoothly raise or lower the entire

Merlin 2 and camera unit.

Boom Height: height at which you choose to

carry the Merlin 2.

Bottom Heaviness: strength of camera’s

tendency to hang upright – calibrated by drop
time.

Center-of-Gravity: balance point of

masses—used interchangeably on the DVD
video to mean “Center of Balance”.

c.g.: center of gravity.

Don Juan: Colloquial term for the Reverse

Shooting Position—lens aimed in roughly
opposite direction of operating forearm.

Locating Pin: supplied pin to prevent camera

rotation on stage.

Low-Angle Shot: camera held low, looking

upward.

Missionary: colloquial term for the basic

Forward Shooting Position—lens aimed in
similar direction as your forearm.

Obie Light: ll light—aka “basher” or ‘eye-

light’—named for actress Merle Oberon.

Oil-Canning: exibility of bottom of

camcorder resulting in less adherence to stage,
potentially causing vertical vibration.

Pan: pivoting the camera horizontally, “looking

around”.

Roll: pivoting the camera around the lens

axis—“seasick” horizon, i.e. aileron trim for
pilots.

Shoulder-Mode: semi-folded position for

comfortable static shooting, as from audience.

Glossary

Drop Time: denes pendular ‘period” of

Merlin 2 spar. Held out horizontally and let go,
should ideally pass through vertical in about one
full second.

Flying Mode: fully unfolded balanced mode

which permits isolated, stable moving shots.

Fore-and-Aft: front-to-rear.

Gimbal: mechanism to provide angular

isolation.

Grip: portion of handle below gimbal for

supporting and positioning camera.

Guide: portion of handle above gimbal, for

aiming the camera.

Headroom: space in frame above top of

subject’s head. Allow less or none in close-ups.

High-Angle Shot: camera held high, looking

downward.

Stage: platform for mounting the camera,

includes micrometer trim adjustments.

Telephoto: Long focal-length (or magnied),

end of zoom lens.

Tilt: pivoting the camera vertically—looking up

or down.

Tongue: additional surface on front of guide,

helps tilting.

Trim: ne adjustment of Merlin 2 balance fore-

and-aft and side-to-side.

Vehicle Shot: use of a Steadicam rig while

being transported instead of walking.

“Z” adjustment: Guide Ring adjustment

of gimbal position on “Z” axis alters bottom
heaviness.

“Z” axis: vertical axis through center of

gimbal carrier.

Iris: The lens aperture which controls the

amount of light and/or brightness of shot.

43

Notes

44

Designed in the USA, manufactured in Taiwan by:
The Tiffen Company
90 Oser Avenue
Hauppauge, NY 11788
631-273-2500 Fax [phone]
Toll Free 800-645-2522
Tiffen/Steadicam 818-843-4600

www.steadicam.com

Cookbook & Merlin 2 help: www.merlin2cookbook.com

[e-mail]

Inventor: Garrett Brown
US Patents 4,946,272, 5,098,182 and 5,229,798
Other US & Foreign Patents applied for.
Industrial Design by Tony Sacksteder
Manual Design by Laurie Hayball
Steadicam® and Merlin® are registered trademarks of The Tiffen Company.

Copyright 2012 Garrett Brown & The Tiffen Company. All rights reserved.