Alfeo Dixon SOC

Correct, both masses are above the axel, but the displacement of force is what is key in the two designs. Andrey_s_Rickshaw.pdf Larry_s_Rickshaw.pdf Alfeo Your analise is great but my sits is not above the center of the wheels ! The center of my mass and my rig mass is above the center of the wheels . And I can remove the wheel's center back or forvard to realise this. Again, another misinterpretation of sits (structure/framing) for sits (body in a seated position). This was the original difference in the chassises I spoke of. Lets call it top slung (Andrey's) and underslung (Larry's). In regards to the mass of you and your rig, they both apply force to your longest main pipe. The vertical pipe for rig mounting is attached to the very but then supported by the cross bar which should help displace the force of the rigs mass back over the axel, this I did over look. So your rickshaw should balance nicely still when decelerating without the added force on the front.

Not quite. If you look back at my post, I said that Larry's sits below the axel (framing). Clearly both seats are about in the same position. Correct, both masses are above the axel, but the displacement of force is what is key in the two designs. Andrey_s_Rickshaw.pdf Larry_s_Rickshaw.pdf

Absolutely your missing it... the weight of the rider add a downward force on the the wheels. Now if this force is below the center of the wheel, it hangs. If the force is above the wheel it rocks on top at a balancing point, just like on our rigs. The force is below the wheels center on a hands free transport also... this is why one can stand on it with very little balancing adjustments. Go and try to stand on a ball... that's exactly what you doing on the other rickshaw which is essentially the closer to a wheel barrel. Also on Larry's, I noticed and didn't mention that the force is also just behind the wheel adding to better precaution of not going over head first, which is probably the reasoning behind the third wheel. Also the lower profile now pulls the wheels down instead of pushing down on them (that gets a bit deeper, but deals with balance). If one could truly center the force directly inline with the wheels (a la transport) then it becomes a lot easier to carry the load... think large heavy case on a mag liner... there is that point where you balance at and all the force is directly over the wheels, this hold true wether below or above the axel. Hope that helps... gotta hit the bed for an early morning call -Alfeo

Off the back... I noticed also that Larry's sits below the center of the wheels more so the style of the Transport, keeping the CG low which would prevent an easy flip over the front end. Andrey, I was very impressed on sight, but after reviewing the two, your's sits above the center of the wheels and could put you in a very easy face forward to the pavement. You have the weight of you and the rig all on the upper front end. A simple mod to get your force placed below the center would make that a bit more safer. I hope I did loose you on what I'm explaining? -Alfeo "minored in physics"

Since you're not over loaded with the backpack and can roll for a very long time, do you find that the director is wanting to keep it rolling rather than to cut and stop? This is exactly what RED's w/ flash drives did on my last show... the director and producer would yell to keep it turning over. Now are you having to roll from the mag, right? I think I remember something to that sort.

Nice! I saw those at the Mega Training in Detroit las month... any problems, issues or precautions Charles? -Alfeo

I think a better question would be, when did the lack of ethics fall in amongst the ranks of such a prestigious group? Really, to flat out lie to the people that could help you the best is not a good practice... period. I received a call from the Tiffen factory to where an (different) operator that I didn't know was looking for a loaner rig, because his was actually loaned to someone else trying to help his friend out. I declined for a few reasons, because it was out of state for an operator that I don't know and have never met. It's a big decision to loan out your rig if your not already putting it out for rentals to others. But it's antics such as this situation that help lead to skepticism and distrust. No I didn't own a rig when I first started, but did have one available to me for a reasonable rate, but never did I tell anyone that it was my rig. In fact, it was the one I actually spoke about which lived in Jersey most of the year. A friend told me during lunch today, that one of the biggest gripes of producers he's had conversations with, was about people jumping from show to show trying to stay working in our region... the only thing they are working on is a reputation for jumping ship. I really don't like the direction that our... and I repeat OUR industry is heading in. It's bad enough with producers pitting us against one another and people cutting rates just to get the jobs, but if we start lying to the next brother with the ability of lending a helpful hand, its going to be a hard road alone. -Alfeo, adding my .02¢ to the jar

Years ago I bought a "high gain" transmit antennae from CIT, it's about 14" long and labelled "ch. 35-55" (this from memory, don't feel like going down to the cases to confirm this). Yep, but its about a foot and a half for channels 30-50 Hmmm... I wonder how the director would respond the next time he/she yelled out "can you fix this and make it better.." and I pulled out the aluminum foil and wrapped his antenna?!? yet another reason to hang out at crafty! -Alfeo

Gone and sold BTW...

Hi Max, I did the Maine workshop and loved it so much went back for another Master DP course. Paul Taylor and Jim Wells where the instructors. Maine was a really great place to visit (especially during the Lobster Festival... this time of year) and there are many other workshops going on at the same time. This provides a few more opportunities to meet other folks outside the Steadi class. I also visited the Tiffen workshop in Georgia last year, a bit more secluded (easier to get to from ATL International Airport) and not more than to live and breathe Steadi. Jerry is the lead along with Peter and others. I think the student / instructor ratio is lower with the Tiffen course. Between the seclusion and more instructors... you get more a more steadi experience. Not to mention a few other operators from the area get to come down and hang out for a day also. Which is better, I would say the one that fits your schedule and pocket the best. welcome and best of luck -Alfeo

Hey all, Wanted to know if anyone has found a good software that will allow me to remove the DRM of an iTunes downloaded M4V video in order to use that clip in Final Cut Pro? I can edit the clip down in Quicktime, but can not use the clip in FCP because of DRM. iTunes 8.0 FCP 5.0 QT Pro 7.5.5 OSX 10.5.5

Just realized that the Archer is 12V system only, right?!? If so, test the connector you should find that the Pin 3 is inoperative. -Alfeo

Sorry Chris... can't believe it's not in the Manual online, but here's what I have for the U1 & U2. One would Assume they kept it similar for the Archer!?! ULTRA 1: Pin 1: Ground Pin 2: + 13.2 VDC Pin 3: + Battery (28.8 VDC) ULTRA 2: PIN 1 PWR GND See Note 4 PIN 2 +12V BATTERY See Note 1 PIN 3 +24V BATTERY See Note 2 Note 1: 12V BATTERY VOLTAGE is sourced directly from battery voltage in 12V mode. 12V BATTERY VOLTAGE is sourced directly from DC-DC converter in 24V mode. (14.4 to 14.6Vdc at 100W max.) Note 2: 24V BATTERY VOLTAGE is sourced directly from two sled batteries connected in series. Note 4: POWER GND and VIDEO GND can be connected by internally jumpering JP2-1 to JP2-2 on 800-0005 board. -Alfeo

Hey Robert, The only other reason I've come across is that you'll be limited to one side when splapping the MDR2 on the side of the camera for handheld or studio work. Not too much of an issue, but then your cables are coming out towards you. I've not had any issues with any other cameras, not too much PV work my way, but RED, ARRI, MvCam, Panasonic & Sony jobs have no issues using the straights. In fact, my last HPX3000 job I liked to put the right angled motor cables going into the camera body just pass the curved area on the body near the front so as not to stick out. -Alfeo

Congrads... your life will forever be changed... for the better!!!

Welcome to the boards Cody, Although most of us don't really get into the settings to establish looks and all, I'm sure there are a few shooters that can give you more info. From my experience, it seems to be just like the Varicam's menu's and setup. It also has the SD card which you can load and save settings from and to the camera, very useful for multi camera jobs. For some reason my B-cam would often loose its settings. Again, this is only me being nosey to see what the AC's where doing. What I did love was the different outputs as Robert pointed out. HD-SDI, feeding the folks back at the village from the rear 'Video Out' BNC. Another two outputs on the side, 'SDI' which I ran to my monitor and 'Mon Out' which I sent to my Archos and Modulus for anyone that wanted to watch on a handheld NTSC receiver. One thing I didn't get right until later in the show was the correct setting for the NTSC signal for my Archos. It looked good for the wireless feed, but not for the 16x9 of the Archos.

Now that your not stuck on the one'r. Build your self in a good screen wipe. Steadi up to the wipe once your out of the hallways getting close to the pools edge. Then you can use the hydrascope to start just before the wipe to recreate what your steadicam wipe did. This would be a good situation, giving you the freedom of the steadi in the hall and the stability of the hydrascope to transition to the underwater once in the open area of the pools proximity. Best of luck

There use to be an Ultra with a private owner here in Atlanta. That's what I used before I got my U2. It's the prototype rig and is in far shape, not sure if he got it all fixed up for the last time I used it about 2 years ago. Biggest problem is that the rig stayed in New Jersey for football season for NFL films. So it sounds like your double booked... could just pass along to a brother in that area. Got Jim Wells up that way and Byran down the street. About five of us in Atlanta.

Hey Erwin, does the RED camera cable power the MDR2? I haven't tried this because I always have the MDR powered off the sled. If in studio mode, I usually use the P-Tap also. Alfeo

The main reason is because the RED along with the other P2 style cameras such as the HPX3000, create individual clips for each take made. This creates a much longer process for post production to now sync and to possible transfer audio into a digital media. Now with this in mind, the editor has been communicating to the DP and camera department about workflow along with the recordist since the beginning of prep. Atleast working out the workflow is a priority of the producers. Anyone interrupting this proven workflow will get heavy resistance. IF you are able to get into the loop of workflow architecture during prep, your chances of placing a scratch track on camera via wireless are better. Emre had a good solution to the clip base issue with the consumer HVX. This would put most at ease unless your editor feels its too much to deal with. This is unfortunately a situation where editors are controlling more of what happens on set. I had a job where the editor said no to the RED because he was not going to FCP and wanted to stay on Avid. He plainly stated get a different format... I was the DP and we got another editor. :P On the other hand, an upcoming project on the RED and another Avid editor, is ok with a wireless scratch track solution for steadicam. But again, this is the DP and editor in talks working out the workflow architecture during prep. Just as Charles stated, its best to do it as soon as possible. My dialouge started from a previous show with the last recordist. Now without a great solution for us to send an HD signal to the village, then we have to got wired for them to see a "comfortable" and clear image during shooting. Just as we all have the spaghetti BNC's for sending the video signal just sharing the knowledge for the ones frustrated by wiring up to collect the check.

ALFREDO!!! You had a creamy white sauce laughing in your head.... you've seen me.... i'm not cream nor white! <_<

Any guy in spandex and drinking a Boddington.... well at least your drinking Boddington's

:huh: ok, you gotta elaborate on this Jerry?!? -Alfeo

Somebody on set was inquiring about my vest and what the Emergency release was for. Then the conversation posed the question of "Who's every had to use it and why?" I for one would love to hear some of these war stories... -Alfeo

I demoed for Steadicam at NAB and I was VERY impressed with the Clippers. The gimbal is near to the Ultra and the vest... can't remember if its the same or not... too many hangovers in Vegas. The only thing to watch for is the top stage is a bit narrower than the ultra and that's really your your only down fall for trying to fly larger rigs. the 24v version (Clipper 324) is also switchable to 12v and with the upgraded Ultra Bright HD monitor your in business. It's made to fly your HD ENG style cameras and smaller 35mm in their lightest configurations. We had the Sony XD cam on one and a Moviecam Compact on the other (with out all the trimings... i.e. focus units and transmitters, matte box.) I really liked the Archer, which we put a 435 on, but the Clippers felt more like my Ultra 2. Hi Nick, It's really G-50 territory. If you use a G-70 with the Clipper, you could expect to carry more. Tiffen is, of course, right in its recommended weight ranges. While you can push any rig, if you are expecting to consistently fly 18 kg, you should consider a rig that is designed for that purpose. Have fun whatever, Chris Very much so... but again watch out for the top stage. Don't want the camera's weight to snap off with the smaller foot print. Hey Chris, do you know if the Clipper and Archer the same width on top? -Alfeo