William Demeritt

This is only a problem with composite.

I'm not sure that's the case, as it almost ALWAYS happens with my monitor with the RED One/MX.

Here's a video of it happening:

http://www.wbd3.com/steadicamforum/backlight_issue.mov

http://www.wbd3.com/steadicamforum/backlight_issue.mov

Doesn't ever seem to happen with any other camera running off the HD-SDI feed (Alexa, F900, AF100, F3 and F35 flown, no video issue). The only reason the Red MX stands out, as I've researched, is that it has terrible HD-SDI jitter issues.

Red One MX with 1st gen Redbyte DC.....I thought the Redbyte has a build in re-clocker? Charles?

The Decimator 1 might, but I know the Decimator 2 does not have a built in re-clocker, as was confirmed by Decimator Designs via email. The only device by Decimator that has a reclocker is their MD-RDA (reclocking distributor amplifier).

I found another device for half the cost, but it requires 5v (at 0.4 amps), so that's the cable I gotta build.

I just found an HD-SDI amplifier/Reclocker for $200, gotta make a cable and actually fly a RED to test it. I'll post the results.

Rebooting the monitor through cable power cycle or the button never solved the problem long term for me. Maybe a solution will appear in the next version/upgrade of the monitor?

What camera were you using? I've experienced a similar problem with the RED One/MX, which I correlated to the HD-SDI jitter in all video outputs.

XCS sleds have an option for LEDs all over the left and right sides that will spell out your name and rate.

After seeing the ATOMOS Samurai and Ninja back at NAB 2011, I was actually rather excited to see it come out. The Ninja came out rather quickly, but the Samurai was delayed and delayed for quite a while. I received mine in December, and have had it for a few months now.

Heavily discussed here: http://www.steadicamforum.com/index.php?showtopic=13759

I'm writing my review based on the newly released AtomOS 2.8 firmware upgrade, which in my opinion makes the device exactly what it should have been upon release.

NOTE: 2.52 or 2.6 firmware, which I believe it shipped with, had some nasty handling issues with jitter over HD-SDI, where it would misread it as the HD-SDI record trigger, so you'd wind up with a hundred small files from it triggering on and off.

REVIEW: As I found my work increasing on features and longer shoots, I realized my operating and survival as an operator necessitated an onboard recorder. Simply put: I wanted to be able to review my shots and determine what I needed to fix WITHOUT reviewing playback with the DIT, without asking everyone to watch it with me, and especially without the DP needing to come ask me for those improvements.

Problem was most of my work was HD: RED One, RED MX, Alexa, Epic, even the occasional Varicam shoot. Investing in an Archos to use with my Decimator, while cheaper, wasn't future proof. Also, taking home high quality footage to edit into my next reel was a priority.

I bought a BlackMagic Hyper Deck Shuttle back in September 2011, but I was never thrilled with it. DIN pins for HD-SDI in and out required I build cables ONLY for use with that box. Recording time on SSD drives was crap (11-12 minutes on a 120GB SSD). The biggest problem: cannot format the SSD, nor pick clips to keep. To format the SSD, you must plug it into a computer or laptop and format like an external hard drive. The device was, as Eric has described, a "bit bucket", but without any practical way to dump out the bucket. F or the price it's decent, but I needed something with more control to let me get through the day.

To me, the Samurai is a great device: HD-SDI recording, records to SSD or HDD, you can select your quality of Apple ProRes codec (and I believe you can get an upgrade to include Avid DNxHD for $149US), etc. The quality of video is just what you expect, it has a menu and file system where you can watch playback on the touch screen, delete clips you don't want/need, or format the SSD/HDD entirely to keep shooting. Of course, quality and functionality come at a price: $1599.

Doesn't have an internal battery, but instead runs off two small Li-Ion battery packs. When you register the device, ATOMOS says they'll send you a D-tap to dummy battery cable (still haven't received it yet). I think the external battery only is the biggest drawback, as it made mounting to my sled a bigger pain than it needed to be. I just velcro it to the video recorder mount of my PRO2 battery base, and add a bongo tie for added security.

You can read all the specs of the device, but here are the things that immediately come to mind with why I like the device:

• Long recording time: on my same 120GB SSD, recording to Apple ProRes HQ, I get 1 hour 30+ minutes recording 1080p24. That's a great improvement over the BlackMagic.
  
• Screen lock: with the 2.8 firmware, you can enable a screen lock that also turns off the display (via the power button). You can do this while recording, which saves battery life. As much as I didn't care for the battery, a single brick made it through my whole day by screen locking the display during takes and between shots.
  
• Weighs about as much as the HyperDeck Shuttle with a single battery, once the D-tap to dummy battery cable comes, I expect it will weigh less?
  
• Better HD-SDI jitter handling, which the RED One/MX have terrible problems with.
  
• Trigger over HD-SDI, so you could keep the display off and it will take the record command on its own.
  
• Transport controls are easy: when manually rolling, I just hit the enormous red, on screen button (instantly turns grey and timecode runs) and then press the power button once to kill/lock the display.
  
• Has a screen to watch playback of previous clips. The screen isn't anything special, but it's better than the options of other recorders out there.
  
• 1/4-20 screw holes on top and bottom mean I have a variety of mounting options, so it opens up possibilities for the future when velcro and bongos get old.
  

Attached a picture of it on my sled. My future plan is to use the D-tap to dummy block for powering and a single battery for backup, which will let me move the recorder more centered over the recorder mount (and also spin it around so the mini-BNC pigtail off the back of the recorder isn't sticking out behind the sled.

p.s.- I know, I need an Alexa adapter block, it wouldn't have helped me on this job: lots of last minute BS, no clip-on matte box, had to have the bottom rails, blah blah.

Thomas: when it comes to HD vs. film gigs, I find the same to be true. Of course, in the digital age, the UHF "fuzz" makes them a bit more skiddish since they're spoiled by clear, digital images.

Personally, I just want one system with great range and clear images for all cameras: HD, film, pixel vision, iPhone (god help me).

I came from flying a PRO2 monitor, but I spent some time on a friend's Ultra 2 HD UltraBrite monitor. That being said, I haven't found the wider monitor of my Cinetronic 4:3 6.5" monitor challenging or compromising, even this summer when I was doing walks through a narrow, CLUTTERED house (art department had trash everywhere... and not just because they're art dept).

Regardless, once the new housing and features are unveiled, this whole argument will be pretty outdated. Then, the housing will be barely wider than the LCD panel itself. Maybe that will entice some people to change up?

Yea, I'm doing research now for a decent 12v regulator that has 3 amp capacity that's also small enough to function as a decent cable (or in-line module of the cable). Of course, 12v @ 2amps means the unit is 24 watts, which is already 9 watts higher than the power consumption on the BriteView Air Sync HD I was hacking apart. Once I get this unit, I'll tear it open and see what/where I can add antenna.

The 12v and the multicast capability are the most exciting, in my opinion.

Andrew: yes, I'm still working on my own homebrew version. After Gaylen's response in the other thread (you know, the $22k HD transmitter that has 4 frames delay), it has renewed my interest in finding a better system, but instead of me making something, I'll probably just sell cables and a handbook for how to make various systems work.

This is the next kit I'll be buying to test out for upgrades:

http://www.amazon.com/Peerless-HDS100-Wireless-Multimedia-Center/dp/B004CYE6V4/ref=pd_cp_e_1

Sub 1-frame delay (20ms), 1080p, multicast (multiple receivers, so option is there for a clamshell AND receiver for village), 12v input, HDMI for HD as well as component, but also does composite video input, so it technically should work with film cameras or any CVBS signal. Also 140 feet (according to the white doc). All for $400.

All I currently foresee needing to make is a D-tap to DC plug power cable with 12v regulator (to make sure voltage is exactly 12v).

Decimator 2 or any HD-SDI to HDMI converter + this transmitter, and HDMI -> HDSDI converter + this receiver means sub-$2000 solution.

Dan: you can set the voltage warnings for the two items separately.

I was working with an Alexa a few days ago whose owner has not yet updated the software (anamorphics with no desqueezer was fun for him on the monitor, but my Cinetronic worked out with a manual aspect ratio). In the menus, though, I did find voltage warnings for the battery and for the plug.

Further, I couldn't actually find where to specify what kind of power for it to accept over the Arri 2-pin power port. I only have Arri 24v power cables, and when I plugged it in and set my sled to 24v power, the Alexa turned right on. Obviously, when I tried that with the sled set to 12v, it didn't power on. Noteworthy: it didn't power on and give me an "under voltage" warning, but it just didn't power on.

That's because the sled makes 24v power and sends it over 1 of the 2 pins in the Arri 2-pin power connector. Maybe correlated somehow?

Yes definitely, I've got some feelers out right now for feedback. A lot of my guys are versatile and not necessarily entrenched in wanting a Preston and only a Preston; of course, I want to consider alienating future AC's. Thanks!

So I'm trying to decide on a direction for my wireless follow focus future, particularly a 2 or 3 channel system sometime soon. Trying to get some thoughts on the gear, particularly Preston FIZ vs Cmotion Cvolution 2M or 4M.

Preston:

- tried and true

- more industry acceptance

- more knowledge already out there, more comfort by the AC's

- I like the lower price (compared to Cvolution 3 channel), lack of need to train new AC's, proven workhorse.

- I don't like: 4 month turnaround on buying a new system, some AC's have expressed preference for HU2 over HU3...not many that are real dealbreakers.

Cvolution:

- newer technology, improved a lot over the last few years

- similar features to Preston, but with some new twists on the technology.

- accessory modularity, premium versions for some gear, etc.

- ??

- I like the features: impressive LCD screen upgrade with depth of field display, lens database RFID reader for quick programming, etc. I'll admit it, I'm a geek for new technology that's futureproofed or forward thinking.

- I don't like: needing to train every AC how to use it, even though many AC's I work with need a refresher course on setting up a Bartech; I fear losing jobs to new technology easily "thrown under the bus" (e.g. Missed focus on a shot, claims come up that it's because of the Cmotion).

Charles Papert once told me recently he held off buying the Preston HU3 until he felt the acceptance among the AC's had reached an acceptable level. As the technology is constantly changing, I wonder if the concern over some gear and it's acceptance is still as relevant, but then again, I want people using my gear to be comfortable with what I give them to accomplish their jobs.

Any thoughts?

I'm pretty sure Jumbo's will be open and ready for you...

Mark, other custom cables are rooted in the real world price of LEMO, Hirose and Fisher connectors, and with those plugs comes the expertise of soldering cables into very small pin receivers (many of which are in the center of a circle and blocked immediately if you solder in the wrong order). This is a VERY simple assembly. If you'd rather have someone else build it, that's fine, but I would imagine even your favorite wiring expert or cable builder would tell you $130 is wildly overpriced for what should be a very simple idea.

Eric, that's a hefty investment to cut up in order to power the system. Why not buy a D-tap kit ($22), a 12v to 5v transformer (something 3 amp capable, they're out there on Mouser.com) and the DC plug? Probably could assemble that for less than half the cost of that Switronix device.

...bargain?

What are you guys talking about, I worked with a 435 just last November, and not on a student film!

Bollywood!!

Alexa is a sweet lady. I like the F65 a lot, but I think Sony has created some tough problems for themselves with this powering situation (108 watts for body and SR-R4 deck). We'll see how everyone can deal with it.

Richard: to address your question: camera company makes a damn good camera that works with their camera accessories. No NEED for 3rd party accessories to make the dynamite go boom. They listened to the 3 people who care the most about the HD camera: DP, operator and editor/post production. That makes for a hell of a lasting impression.

Sony F65 sounds like they talked to DP and Editor, but not operator.

Canon listened to shooters, but disregarded editors and DP's (what latitude? What color correction?)

RED Epic / Alexa listened to reduser members, who seem to only be Internet geeks.

Wait, I misread your post Will, I'm retarded.

Quoting to preserve this for all time!!

HDMI and HD-SDI are both hd formats. It might accept SD-SDI, but very few cameras use that. I'm lamenting the lack o solution for standard definition composite video.

The first disappointment that comes to mind with this unit isn't the transmission distance, but rather the lack of input options. HD-SDI marries this unit to the HD cameras world. A CVBS input for digital transmission of analog signal would have made the unit useful to we operators who still deal with that flimsy, plastic stuff you never have to reboot. Oh well, they sell $60 composite to HDMI converters.

I want to try and talk to them to get a demo scheduled. 150 feet sounds fine by me. If I'm more than 150 feet from village, I'll move the receiver to my stand. For that price compared to others, I'd be seriously interested.

I'll assume that the "1.8lbs" isn't per unit but rather the weight of both units together. I would wager the TX weighs less (no external antennas, which is interesting).

Anton Bauer "three stud" style coming in February.

When I had a Decimator 2, I would have the issue:

- Decimator 2 is on, wired to CVBS out and HD-SDI in, camera is off/not present.

- Decimator 2 shows green amber "power" LED.

- Powered off D-tap cable at bottom of my PRO sled (typically powered off the Monitor battery, just to stay organized)

- Connect camera HD-SDI (or power on camera, happens both ways sometimes).

- Decimator 2 shows green amber "power" LED AND RED LED lights up, seems to think it's outputting CVBS.

- No image on monitor although everything is selected correctly.

- Power off/on monitor, no new image appears.

- Solution: pull power plug from Decimator 2, power back on. CVBS image comes to monitor almost instantly (on power up).

I've also had this issue when powering the Decimator 2 off the CAM PWR at the top of my sled.

Sold my Decimator 2 a few months ago, currently have an MD-DUCC on backorder from Markertek. I don't know if it will have the same problems. My Decimator 2 never "died" on me, but a few cohorts have had the problem.

Speaking for the centerpost cable with LEMO connectors on both ends, yea if you unscrew the bottom mount, spin the lower portion clockwise, and reattach it, you make the coil "tighter" and reduce friction with the walls of the centerpost. The tradeoff is you lose length of the centerpost cable's extension, so extending the post now creates additional strain on the cable. Shorter extension, and if you try to extend too far, you're creating a lot of stress on the cable itself.

Imagine a slinky, and you take one end, or one half, and twist it clock-wise (looking at that end from dead on). The slinky's coil shrinks in diameter and becomes a bit longer. Now if you try to stretch it, it reaches it's "maximum" much sooner.

If you're also having trouble with collapsing the centerpost, and I'm not sure if this is sanctioned by GPI, but you might consider lubrication applied to the walls of the inside of the centerpost? Remove centerpost completely, wrap the LEMO connectors with plastic, pull them out of the way and spray silicone lube down the inside. Don't need to drown the thing, but a good spray to coat the walls could help decrease the friction of the center post's metal on the cable's rubber sheath.

Waiting for Baldwin's reply to this post when he searches for "lube" and "sheath".

More an aphorism than a parable...

 

It's not the time it takes

to take the takes.

It's the time it takes between the takes to take the takes.

Very true. A thought I like to share with eager beaver directors who always want to "shoot the rehearsal" is: "Rehearsals aren't just for the actors! They've had the script for weeks, maybe months? Boom op doesn't know how this plays out, guy responsible for focus doesn't know, background and fx don't know, and me, the guy wearing a 70lbs camera doesn't know. So for the sake of all of us, let's at least do a blocking rehearsal, preferably a stop-and-go rehearsal, and THEN let's shoot."