Erwin Landau

Andrey, Kinoflo has mini ballast's that can be powered of 12 volt like for the Kamio (ring light) or the mini flo's. And they mount nicely onto the Camera... http://www.kinoflo.com/12VDC%20Systems/Kamio/Kamio.htm No cables no power issues... not like a couple of years ago... see below:

Hi Mark, Just to clarify... Are you talking when the camera is rolling or when you try to record video on the video assist??? I assume you are talking when the camera starts rolling (film) the video gets bad right? What kind of video-tap are you using? Are you powering the camera from the rig or from the onboard battery? The SR2 is a 12 volt camera and generally the black ARRI (12 volt) cameras had shielding and grounding issues. The image is always noisy. (I blew up a 35-3 once by touching it while rolling it closed the circuit and fried the breaker and melted one of the pins in my cable... also happened with a 2C with a CE base... put in the smell of burned material here...) First you can try to power the camera from the 12 volt only side of your rig (depending on what rig you own, if you own a multi battery set up) it will use a different battery that is not powering the video components as well. Better yet use an onboard battery which separates the power completely from your sled. It should get you a way better picture to your sled and video village. Also try and get power to the video tap separate from the camera (do not power it from the camera body). Try to isolate the video and the power source as much as possible... power it from the rig. That usually takes care of the problem. Unless you have a modern video assist there will always be artifacts like lines or jerks going on in your monitor... (While the camera is rolling)...there is a reason why ARRI went to the SR3 and all of them as of late are retrofitted with 535 IVS video systems... Hope that helps, If not, call me, you have my number. Erwin PS: Just saw that you are using a T... if you are using the cables that I send you for power, then you are feeding a double video signal to the Modulus and you are double terminating the image (turning it dim or very dim and crappy). Power and video are coming from the 4 pin Lemo (or 4 pin Hirose) into the 6 pin Hirose (Transmitter side). No BNC to the transmitter is needed if the rig is wired properly. A separate BNC is going from the video assist directly to your rig, that's the main video into your rig, to your monitor and out the Modulus to video village...

That is totally up to Tim. So contact him directly. We have no say in that. BTW: Usually we moderators are deleting most of the spam before anybody has even seen it... there are usually 10 to 20 spam posts per day... so you are not even see the full extend of the spam spam spam spam....spaaaaaam, sausage and egg. Erwin, Steak and Tomato extra. Service is free.

Believe it or not I have mine through AAA (Yes the Roadside Service). I had to get Workers compensation for my Company and that required Liability which is a package. As I have all my coverage (Car, etc.) from AAA I just innocently asked if they knew anybody... AAA is the broker but you are insured through "The Hartford ". Good Luck, Erwin

Hey Charles you are very advanced for a 4 year old... Perfect grammar and 22 years of steadicam experience... Happy Birthday. Erwin

http://www.griptrix.com/

Sold! Thank you. Erwin

This is from yesterdays People Magazine: http://www.people.com/people/george_clooney/photos Geoff Shotz on the new George Clooney Movie: Leatherheads. Erwin

The bad reputation of that company has forced the manufacturer to retreat from selling it under his Company name and is now preying for customers on e-bay: http://cgi.ebay.de/ws/eBayISAPI.dll?ViewIt...p;rd=1&rd=1 Look out don't be conned into a bad purchase. Check the forum for feedback on that company. http://www.steadicamforum.com/forums/index...amp;hl=pro+gear http://www.steadicamforum.com/forums/index...amp;hl=pro+gear http://www.steadicamforum.com/forums/index...amp;hl=pro+gear Fly safe, Erwin

"... because the strength of their top stage set ups, and that others couldn't handle the torque?" That's Bull... , actually the Ultimate has the better more sturdy design, keep in mind that the ALIEN is based on the Ultimate and actually has fewer flex then the AR/Nexus (I have pictures), I played extensively with the ALIEN and the AR (Given, never on set or on a shoot but I would never show up on a shoot with a piece of equipment that doesn't perform properly) and both of them are not ready to be used in the field. If you look back on trade shows like CineGear and the like the demo is featuring a GPI-PRO Donkey Box 3 because the MK-V deluxe stage isn't a drop in model. But when you purchase it you get the MK-V top stage (???) What's the reasoning for that? And that should prove that it's not the top stage. If even MK-V is demoing it with a "non standard" top stage. I have pictures of Guido Lux who uses a Chrosziel top stage on his Nexus with the AR. Looks to me like a stunt to make it more exclusive and sell a whole new rig on top of the AR. Sorry but the whole "integrated" system "thing" is a mood point. Will's set up works the best and most consistently of all of the units I tried. But even his, after a couple of "Revolutions", the Camera and the monitor are of level and out of sync. I was told (please confirm you UK guys) that the AR is not sold in the UK but rather is only a rental item there.... (?????) Reason? Shut... we are out of picture space... I'll contact Tim and get back with Pictures... Erwin

Hi Doc, I made that weight plate a couple of years back for my PRO Lite and my 3A arm as pretty much everything was to light for my Gold springs... A scrap metal piece from Industrial metal supply, the velcro serves as rust protection and is very handy for cable management. ($11.50) After machining, weighs in at exactly 15 lbs. Bought the Tripod adapter from Samy's ($60.-) to protect the weak threaded adapter. Machining (5 holes) was $50.- bucks before I mentioned it was a Camera weight, then he quickly changed his invoice to $150.- Use it still with my Ultimate makes for a nicer flying rig and brings the gimbal higher up the post, especially with a single Trimpac at the bottom. Actually a Camera with the Mini35 with Cine lens and mattbox is almost the exact weight as just the camera with the plate... Take care, Erwin

Oh also... it was interesting that they complained how shitty my transmission was. Always this little DV shoots that complain the most about my Transmitter and receiver... when the camera cost less then my Tx and Rec combined they complain... Erwin

This camera is chasing me... As said I got a last minute call for a TV show pilot... they had luckily 3 bodies... the pictures will explain... They wanted Teleprompter, 2 wireless receiver, Wideangle adapter... I pushed the build rig over a door jam and the camera went flying... I caught the camera mid air. We had to rebuild and I ended up with 4 cables running to the camera (minus wide angle, minus wireless... plus 4 cables...) Atr least no P2 CARD ISSUES. Anyhow... So much for that camera... actually i just got of the phone for another show next week with the same Camera... for the weekend when I'm off my feature... we'll see. Erwin

Happy it worked out for you. Any plate with a gear set up would do... like any of the model 1,2,3 etc... just to find one separate and in good condition is not easy. Especially if you need one quick... Anyhow hello from LA. Erwin PS: I worked at the Basler Stadt Theater for almost 6 years... I'm sure you met my sister Irena Landau or my "ex" Fabienne, they worked at the "Porte" for a while after I left. Anyhow enjoy the Fasnacht.

You can buy new ones from Whitehouse Audiovisual... 805-498-1658

Hey Guys, I'm foremost a Film guy and I'm pointing and shooting. Film Camera trouble, I used to be quite good to get them rolling again... Video... I have no clue. I'm trying not to be ignorant about video but you have to be a video engineer for some of the menus... and quite frankly i leave that up to the AC or DIT. I just don't have the time on set to deal with that stuff. When there is a problem, I leave the camera with the techs and check with the Director about the next shot. We used the fire drive as a back up because the company had problems in the past with the P2 cards. I used the HVX in the past, actually again later today, most of the time it was fine. On this production, pretty much everything went wrong. It's this ,one in a thousand thing, i guess i was this guy... And when I hear "oh we have to do it again we had trouble with the card", or the camera just stops recording ... what am I suppose to think? The fire drive had permanent problems, didn't record, stopped recording mid take, battery died, at one point i had to power it from the sled... (I have an ancient Watec video cable that fit the drive!!!). It was a little bit of a Mickey Mouse Production to begin with... Oh yeah I had one time ghosting and artifacts problems on the P2 card that came from my video transmitter... we where doing 4 minute oners with rain and wind machines etc. Wasn't really in the mood on a night shoot to do 10 additional takes because the Video Tech didn't mention that that could be a problem... as said at the beginning, I'm a Film guy. (It's not an excuse, but it works for this story...) I'm a camera operator, you shouldn't have to need a degree in engineering to operate a camera... right or am I wrong? I'm not really a dufus when it comes to technical aspects, but video leaves my constantly shaking my head. Why is video again better then Film??? Just spend time with the Genesis on Will's prep... I'm just flabbergasted and baffled... makes no sense to me... Just my 2 cents, Erwin

If you are not quite sure which one you need, I think Mc Master Carr has several 100 versions give Gregg Bubb a call... He has a good selection. I'm getting all mine from him. Or he can just point you in the right direction. Erwin

Hi Ashley, Thank you for the Link... I had to share. The undies... the chicken legs... oh man. Erwin

Lukas... shall we really pull the whole ZH versus BS out of the bag... (For LA guys it's about as serious as the whole UCLA vs. USC thingy... just fun). Fasnacht... It's great for the kids and all the people that never grew up... or pretend they never did... pretty much everybody in BS for about 2 weeks a year. Ghoststories... you are missing out... Look at Halloween... Hollywood is crazy for a good or not so good story... I'm renting some equipment to Boogyman2 right now... (I don't know why they are making another one...) Matt... P2 was not recognized by Camera... Camera was displaying that the just inserted empty card was full... no image on the card... stuff like that... a pain. Erwin

Oh yeah... I think this picture will clarify what Will thought about the all in one piece set up...

Hi Lukas, I didn't have a bad experience... just... I'm starting a feature in 2 weeks with the Arricam ST... Big: Yes! Heavy: Yes! I'll take it any day over "that" thing... And the result looks way better... We used the P2 cards and the Firewire... both failed over the 2 day shoot... A LOT!!! Anyhow... makes for a very odd set up. Erwin Hello from LA. Unfortunately I will miss the Fasnacht this year again. But my daughter will play the Picolo in the Giftschnaigge Jungi Garde...

So here the pictures from Will's Genesis Prep. And as said here the first dual battery plate made by Panavision for the Genesis. It balances actually very well and puts the "Film Plane" directly over the center post.

This are some pix (Pictures by Karlo David) from a commercial shoot that I did a couple of weeks ago... Good rate... but the camera... HVX-200 with the mini-35, canon Lenses, 2 wireless receivers and a Firewire drive (Everytime it got a little warmer the fan kicked in, loud). If the component and the Digital out wouldn't have canceled each other out, I would had to run wired... If that's the future I don't want a part of it... Erwin

I was at GPI yesterday and they showed me an add... check it out if you dare: http://eng.dolcegabbana.it/dolcegabbana.asp I don't know about the outfit though... Erwin

Video/DV production and cheap Follow Focus... I don't think that at that budget level you should skimp on such an important part as Focus. My bread and butter is still coming from 35mm feature productions but from time to time I do the oddball DV production... I just did 2 back to back and you guessed it we had focus issues... #1: Shooting for Web-content with (5) JVC HD-1 Cameras and Fujinon zoom lenses. First time the company was using HDV for this show. I suggested an AC and pulling focus, production said not necessary... We set everything up it looked good on my green screen. We do the show. A couple of days later I get an angry/disappointed phone call: 90% of the footage is out of focus... actually the background is in focus but the talent is soft... Back focus issues and everybody is looking at me... #2: Shooting a commercial with HVX-200 and Mini-35 adapter and STILL lenses... we need gears or Cine lenses to be able to pull Focus... it will be fine. 60% of the shots that the Directors wants are not obtainable because of focus... can't pull out that far... can't push in that far... for 2 days straight. Oh just remembered a #3: Small production wants to rent my single channel. After a couple of talks with the producer and a painful "deal" for me... they decide not to rent the FF system because of money... the producer called me back a couple of days ago to tell me that they should have and will in the future rent my single channel... 40% was not usable and they have to go back for pick ups... Really Film making costs money and it's a business. It's the equipment you are making your Living with. If you don't have the cash either wait until you do and get some decent gear or get another job... That self made FF maybe is good enough for your home movie or student film... but if paying clients are at stack... for goodness graces get some professional gear. Just my 2 cents, Erwin