ULINE "Double-Scissor Lift" Low-Cost Telescoping Pedestal?

[michael zaletel]

Has anyone ever used one of these ULINE double-scissor lifts as an inexpensive solution for camera positioning on set or in the field? You could either use a CineSaddle or custom mount a fluid head to the platform.

This sells for $599 and goes has a hydraulic-foot-pump-adjustable platform with a range of 13.8" from the ground up to 51" high and has four wheels for repositioning. This would be a lot less expensive and versatile than a telescoping pedestal wouldn't it?

The one on harborfreight.com is only $169.99 but doesn't go as high.

Thoughts? Comments?

-michael zaletel
(shooter)

 

[Stephen Pruitt]

I wonder how stable it is, Shooter?

I like the fact that it doubles as a grip cart.

Why don't you buy this and let me know how it all worked out?



Stephen

 

[Tim Sutherland]

I might head over to Harbour Freight and check out the cheaper version. If it looks good, I might pick it up.

 

[michael zaletel]

I wonder how stable it is, Shooter?

Hi Stephen:

No idea but I think it's designed for moving engine blocks and very heavy inventory so I would guess very stable indeed. 500-700 lbs max load!

I'm curious how "smooth" it is. I probably will buy one and let y'all know. The reason I posted this was to see if someone has already tried it or can think of a reason it wouldn't be a good tool for filmmaking. Just because these are inexpensive doesn't mean they aren't solid or well-made. Remember that the market for tools like these is way bigger than the market for filmmaking equipment and so economies of scale kick-in.

-michael zaletel
(shooter)

 

[Steve Sherrick]

In my experience, using these types of lifts can have unpredictable results. Often times these types of devices don't have the precision in terms of a smooth lift. I was on one shoot where the production had gone with this construction lift because somebody knew somebody, and it was a complete disaster. The start stop action had really bad jerks and it was just shaky in general. Add in a windy day, and well..it didn't go well.

I don't know about these particular models, maybe they are okay but beware of equipment that isn't intended for cine use.

On a funny side note, my dad does sales for warehouse equipment, so I know the name Uline and I could probably ask him if he knows if this would work.

 

[Kyle Mallory]

Smooth movement, both vertically and laterally (on wheels) would be my biggest concerns. Some of the hydraulic car jacks have a smooth release, but raising could be entirely different. I doubt you'd want to use it as a dolly on anything but a marble floor... and even then, maybe not.

 

[Dexter Gregoire]

I think the lift is perfectly fine to lift a camera or two.

The problem I see is the Wheels, they are not your typical dolly wheels for any dollying in or out. Pneumatic 4ply 50psi, inflate to 35.

 

[Stephen Pruitt]

I'm not sure if anyone would think of using this as a dolly per se. . . I think it would do better as a mobile tripod, as it were. Just jack it up or release the pressure and you can be at any height very quickly and easily. But movement while filming? Probably not.

Stephen

 

[Charles Angus]

I have found tripods to be pretty mobile, but maybe that's just me.

I can't imagine that this would be smooth enough for moves, and it would be less convenient than a traditional tripod in every other way.

Also, 51" isn't very high...

 

[Johnny St.Ours]

I've used some very similar stuff, while filming race cars. I've put a camera on transmission lifts, engine hoists, car jacks, dog bones, you name it. I've always thought of them as something to use because they were nearby. Filming of race cars often takes place in garages. Way too limited, in my opinion, to justify purchasing new, much less taking up space and energy to transport to any shoot.
They go down, not up. You have to pump them up, which shakes the whole thing. You can get a nice shot as the hydraulic releases, downward, however ... until you get to the bump at the end. I use it to get some close ups on car parts, releasing very slowly, then speeding up and reversing the footage and it looks like you're going up at normal speed.
You want to have a tripod at different heights, use a tripod at different heights, I'd think. Save your back hauling one of these things around in a truck, and much easier to level, etc. But if there's one sitting there, cause you're filming in a warehouse or garage- nothing wrong with using it at all!