Thomas English

So whats to stop me from buying the all terrain segway for $5000 and spending a bit of money working out a modification so I could controll it off the gimble or such like? possibly costing a total of $7000 rather than the expected $20 000

what does "steadicam optics" mean? it already mentions the prime and clipon.

so the regular off road segway comes in at $4900 . This is the one I would be interested in for regular use. How much of a bump are we talking about for a relatively simple modification? I think the little plastic screws on an ultra cost my mate $80. a used rig costs in the region of $20 000 I hope the grown ups don t take the mickey on this one.

how do you steer it? not via the handgrip controll normally on the segway

happy birthday bad boy!

the segway from handsfree does 21kph or 13 mph the average human can run a maximum of 15mph wow! this could be the solution for running shots! no more rickshaws!!! ? How hard can you crash one of these things by falling off a curb or going over a big bump?

how fast!!!!!! running shots? In the literature it says some most models travel at 12.5mph max but some can do 30mph! on a broken english pavement? thomas

I assume the module HKDW-702 is the inbuilt downconverter on the 750. I have heard rumours of 750 s out there without inbuilt downconverters! I assume anyone with half a brain would have this but you never know. On the Miranda its done with the little dip switches

yup.... definately. I don t know how but I often find this camera in this mode and don t have the time to go through the engineers menu to sort it. Leaving me using the 4/3 section on my transvideo.

by the way, this arm is still under manufacturers warranty for another year. This is held by a british company that have provided all bits quite promtly when asked. I think they have a good relationship with progear. thomas

he is one of the good ones....very dark movie.. I was not able to watch the rushes they distressed me too much!... not enough money to keep me there for the days they wanted. The days I did I did for next to nothing but when work came up, work came up..... really pissed production off but thats the nature of the beast. I did not get invited to the wrap party. pulled off some crazy shot s when I was there. This was a shoot in a big mansion house, my radio link left a lot to be desired! even at 1w 2.4GHz. It was this shoot that made me want to go 1.394GHz diversity as well as a rickshaw comercial I did the next week. Anyone know the delay on the IDX version yet? it is half the price of the the boxx Is the box essentially COFDM? or is it wifi? marrel are bringing out a range of diversity 1.394Ghz and 2.8Ghz systems... check this out! http://www.gmsinc.com/product_details.asp?...rod_cat_idno=13 read... 2frame delay or 33ms ! I think there is going to be a big range of COFDM transmitters coming out soon. http://www.gmsinc.com/product_details.asp?...rod_cat_idno=13 I doubt these are cheap! thomas

Some day soon I hope to be buying gyro s for my rig. How do you go about negociating to charge for them. Do you - mention to production that they should probably pay the extra for them on any outdoor shoot hoping that they have no idea what your on about, they pay the extra wether they use them or not. You make sure that they are aware they cost extra so they don t think your "more expensive" than the competition. This way regularly getting 50 pounds or 90 US dollars. - keep them on your truck at all times and clear it with production when you want to use them, like grips do with their spanners. that way occasionaly charging 120 pounds or 200 US dollars. - Have them on your truck, use them when you want to, show off to the DoP, get more work... crank up your rate 'cause everyone thinks your so cool', elope with art department, buy a villa in kenya and live happily ever after. My instinct is to do all three but sway with the third... get what you can, how you can but always make sure your using the best tools and your work is wicked. are there any other strategies or opinions as to why any of the above would be anti union thing. thankyou thomas thomas

If your budget could only afford the trasnvideo 4' , I would go with the panasonic. whilst the panasonic does not overscan (what light director?) it is cheap and bright for your money. I have enjoyed using them for the whole start of my career. It will serve you well and work as a backup. If your going transvideo and have the extra money get the ranbow ultrabright at 6.5 inch. I have this and am very very happy. I don t operate in the californian sun day in day out but when in the sun it has worked very well. I don t see the point in getting a 4inch transvideo. thomas

so far as I understand, the fastest colour to hit the back of your mind is yellow. Hence tennis balls and the football argument of euro cup of old.

Paul s earlier "jaws motorcycles" would certainly ship to the states in a hurry.. He seemed incredibly nice to me. So to clarify this.... ACF50 + greese "ACF-50 can be used on all types of plastics, paints and seals without fear of damage." , no mention of greese. I have been repeatedly told by repespected engineers not to mix with greese... please qualify?

"Its going to be a hard sell but I will bet anyone here that in a year from now, this systems will be the norm and we will be talking about how we used to do it in ?the old analogue days?." I don t think it will be hard to sell and it certainly has it s applications whilst not at all encompasing they are definate. cheers thomas

the reason why green screens are green is because of the nature of phosphors used to get a super bright screen, not because it s better for the looking at. correct me if I am wrong please.

I ve been thinking about microwaves near your head for a while. These transmitter s at 2.4ghz output 50mW or 0.05W. One would argue that 2.4Ghz is attenuated by water which is why its the frequency of choice for microwave ovens! However microwave ovens output 750 Watts to cook things. Mobile phone s out put at 900Mhz ish or 1.8Ghz (orange in UK) and output between 5W and 25W. and you literally put that next to your head. If you want to avoid death from mobile phone don t put it to your head before it starts ringing (when dialing out) I feel comfortable having 1W nearby...

will the 4 frame delay version work as well as the 12 frame delay version ? are these pal or ntsc frames being discussed? i.e. on the 4 frame delay it makes a difference of 133ms or 160ms being 25% slower. or are we talking 24p frames. Is it true diversity or is one ariel transmitting and one receiving? Alec, would you find 4 frames acceptable? being a 7th of a second (assuming it s 4 NTSC frames). What is the delay on a regular radio link (i.e. modulous or marell) I am assuming there will be a slight one... very slight.... maybe in the region of 25ms.... warning... that was a guess! I think its still great for playback. maybe you could provide a live broken up feed straight off it with no delay and a clean feed with 1/2 seconds delay? Alec... I have been working with one of your NY Dp s ! Milton... He speaks highly of you... thomas

this system does sound very good. will you be making a system at 1.394ghz ? Is your regular reciever exactly the same inside as the HG reciever just without the unidirectional antenna and pole mount? Could I, on your HG version have one omni and one unidirectional antenna to make it runner proof. Both of your recievers are diversity based. On long shots would it be a problem cabling up one antenna to the end of the shot and one to the begining? For export, would you be able to build me a 500mW or 1W TX module ? rather than the 50mW I assume your present system is? How do other operators feel about a 1/2 second delay? often things are possibly cued by the AD off the monitor, do you think people will be able to get their head round these things? That audio delay module is only going to be about $90 so very acceptable. broadcasting mpeg2 ? well why not.......... if it enable you to do a shot otherwise impossible. Music video s.. my bread and butter ..... I think it might irritate the director a little bit unless we give him playback off the delay.. many artists are bad enough at lip synch.. it needs to be watched carefully... then there s the clients.... do they need a delay as well... hanging out in the back of video village doing whatever they do all afternoon. Even 4 frames delay (180ms) will throw lip synch right out making it impossible to judge if the artist is doing a good job. But really it s just the director that s important, so if you could get some good enough headphones for him (blocking out the real playback) then everyone could be happy... Drama/features... definately no problem, the director is always monitoring from earphones... soundman would have no probs popping in the delay. The perfect signal picture would go no end in making every one a happy bunny. and nobody else can hear the actors so there would not be funny looks. Comercials...... great system.. the clients will love it... everyone is happy.

I doubt using a modulous will be a problem.... severely doubt it! Watch your image out on your monitor. I keep finding them with 'monitor out' cropped to 4:3 ... Don t know why or what people are doing! Apparently you should not take it for granted that they have the inbuilt downconverter! check with the rental house although i have not yet heard of one that does not.

I sincerely apologise to all those who enquired a month ago about buying this arm. I ve had more work than I can understand so I never sent out the photo s etc. Great arm, Its served me well. I have carried 535B s on it to pd150 s . You can remove 2 of the cannisters for superlight weights. It has titanium springs. When I bought it, I purchased for an extra 500 ukp a full bearing replacement set, so I would not have to rely on the manufacturer for replacements. The reason for sale is I now have a master arm! Asking price is 3500ukp or nearest offer. I want to buy that gekko ringlight asap so after a quick sell. Thankyou Thomas

I got brian busbee to make me this post. So I can use my regular mk-v gimble (or 3a or pro etc) on my master arm and also send this whole system up into the air. They are available at MK-V . I got brian to also make me a 24inch post, he is your man for making special weird stuff.

I am on this feature at the moment, because I am only days here/there panavision were unwilling to give a proper miranda for the f900. What they found was this tiny tiny downconverter that sits in the side of the plugs, its NTSC but is the same size and weight as a small box of matches! It s brilliant! The image can be a bit funny.. split screen on super fast pans... but nothing at all to worry about, really made up by the lack of weight and size from this thing. Ill take a photo next time I am in (the 18th). But attached is a bad (camera phone photo) you can just see the box on the back corner of the camera. It s tiny! I think they have stopped making them. The 750 is like the f900 but does nt do 24p (only 25p and 50i in europe), doesn t have proper curve control but does have an inbuilt downconverter. Essentially a digibeta on steroids

Please sell me your motor..... thanks !