The steadicam operator also controls the head with the same movements as with conventional steadicam. The pan axis is directly connected to the sled and therefore operated completely manual. The tilt is set to a really tight follow mode and is following the movement of the sled very closely, as the operator tilts the sled up or down. It feels like normal steadicam operating and the tilt also reacts precisely to slight headroom changes. It's common praxis with the steadicam to compensate fast changes of the subject with a boom up or down with the arm rather than a tilt, like if an actor is taking his first step down on a flight of stairs. It would still be necessary to do compensate such movements with an height change of the arm rather than tilting but I never felt that I was too late with framing even though the head reacts milliseconds slower than with a direct mechanical connection between sled and camera.
It's even important technically that the steadicam operator controls tilt on it's own because the space under the camera is limited and with a remote operator not paying attention the risk of getting in touch with the topstage accidently would be too high. The system can tilt 90 degree up and down and those movements would be impossible to synchronize with a remote operator. Therefore it's solo operating only if the head is connected to the sled.
If the head is extended with the optional pan motor to build a standalone 3-axis head, the systems settings can be changed without connecting a laptop by clicking the menue button twice. This preadjusted profile is set to wireless remote control and also controls the additional pan motor. As you can imagine from the heads dimensions, tilting 90 degrees down will be impossible in that configuration, only the the tilt of the steadicam sled together with the whole head opens the necessary space for the camera to tilt 90 degrees. But I see it as a benefit for car-to-car shots regardless, that the 3-axis version can be strapped to a frame by bungee cords without the necessity that somebody actualy holds the head at higher speeds. This simple rigging solution opens a new field of applications with the portahead 10 and Alexa, which needed a shotmaker and stabilized head before.
I already did a number of car-to-car shots in the last year with the smaller Portahead 5 and cameras like the Red Epic. These are two examples:
For the Porsche footage we also did the aerials with the rc helicopter of the DP and a small brushless gimbal adjusted by me and with the blackmagic pocket.
The car-to-car shots are in the chapters 3 and 4. For the other clip I only did the car-to-car scenes while the aerials were shot by another company.