William Demeritt

A flight BJ was on had to make an emergency landing at LAX.

I think it was considering crashing, but they checked with Russell Todd, and apparently BJ's schedule is too busy to squeeze in an air disaster.

From what I hear, BJ would consider an air crash if given the choice between that or another 3D feature.

I've had a number of cables made by Siggy Saladin at Clairmont Camera. Contact me via PM or email if you want his contact info.

Eric, what size SSD do you use in your BlackMagic? How much recording time do you get out of it? As prices of SSD's drop, my preference of the Atomos Samurai (as of yet unreleased) over the BlackMagic is slowly skewing just based on cost. Recording time and the affect of 4400rpm spinning platters inside 2.5" HDD's also plays into the decision.

... it's the data coming out of the HDMI ports on various cameras. Bottom line, you never know what you're gonna get.

I think the bottom line should be that HDMI should never be used in a professional environment for video acquisition with any intention for post production. I really can only see recording off HDMI if I'm trying to record footage for quick playback, or I want to take footage home with me. Otherwise, HDMI is a nightmare best left for the consumer world.

You both have much to teach us.

Can someone teach me how to convince fellow operators that they're not making any friends, nor growing their business, by working with the philosophy of "well, someone is going to take the $200/day gigs, so why shouldn't it be me?" or "sure, 4 other operators passed on this recurring gig because they did it once and the rate was too low, but it's just fine by me! Suckers!"

I saw John Perry had this setup on So You Think You Can Dance a few weeks ago, and I was quite happy to see the transmitter was relocated to that new spot. I haven't flown a P1 in a few months, but I'm looking forward to it.

No but it looks cool. 2500 bucks and it's a back up hd monitor and recorder (and sd monitor as well?)......... if you get one, let me know how it works.

4.3" TFT screen with pixel resolution of 480x272. Not sure if that makes it a worthy backup monitor, HD or SD. recording purposes it looks cool though.

Looks interesting, albeit kind of pricey. Atoms Samurai will allegedly have all of this, and use SSD or HDD's, and cost $1495 without the 128gb SSD included (worth $200). Or, the Hyper Deck Shuttle costs $345 for uncompressed. Looks like they beat Atomos to the punch, but if/when the Samurai hits, it'll beat that price by $1,000.

It almost seems like a bad imposter spy gag from a tv show: "Greetings, film creators! I'm seeking a SteadyCamera operateur who is well versed in flotating a RED Won 3K motion picture camera. You must also pull your own rack focus while levitating EXPERIENCED INDIVIDUALS ONLY!"

So can one still feed an SD Signal in through the power lemo connector as I can on my TB6?

 

Can I zoom shrink the image and place the bubble outside of the video space? Particularly relevant on 16:9 monitor with a 16:9 signal fed to it with no "look around".

 

Is there an eta on the new housings for the 7inch ers?

Answer to the SD question is yes, it comes in on Composite 2 through the LEMO power connector. Works fine on my PRO sled.

What RED specific video cable? I'm trying to find it on the Tiffen website. As far as I know, All of the Tiffen sleds (which are HD compatible) have an HD-SDI capable BNC on the lower electronics section. All you need to get HD video from sled to monitor are 75ohm shielded min. 1.5Ghz coaxial cables with male to male BNC's.

I gotta talk to A&S about the price of building a coffin box for my bottom shelf of my cart. Working out of boxes is fine, but I can see that it slows me down instead of having locking drawers.

I think I have also mentioned an equipment repair issue I had once where the bean counters told me they didn't have to cover my gear because of the disclaimer on the coi (the one in the box at the top right of the standard Accord cert we all get). Read it...and weep.

 

If it's a job I get the willy's about I will usually call to make sure I am actually on the policy and not just typed into a blank space on the cert.

I'm sure someone more savvy than I can chime in soon, but the disclaimer at the top of the ACCORD certs is to protect the insured from someone claiming a repair or loss against their policy without additional contractual agreemenepts binding you to their policy.

I request proof they even have a valid policy, and by getting one issued in my name shows their policy is in good standing. From that point on, it's probably up to the equipment provider to get a Rental agreement signed by production that obligates them to use said policy for any repairs or loss.

I think a lot of us operate on a verbal agreement or even unspoken but implied agreement that our gear is covered by their policy, but if they really want to get crazy about it, they probably could claim "oh, you were never on our policy for your gear, that was if you were worried about bodily injury liability."

"I have insurance to protect my gear when I have it at home to protect against theft, loss, etc. Whenever my gear is rented to work on a production with me, I require a certificate of insurance the same as how G&E houses generally require insurance for their gear, or a camera rental house requires insurance."

You can also add on something about (or be prepared to answer the question of) you will agree to rent the equipment to production without a certificate of insurance, but you'll need to charge them a premium and also have them sign a rental agreement stating they're responsible for the deductible of any equipment lost or damaged.

I think FilmTools now sells Erwin's design, but with the Backstage carts instead of the Yaeger.

Pedro: do you find that the handles on the Yaeger get in the way? I like my Magliner's spinning handles so I can get them out of the way for balancing docked to the cart.

I need a Hill balancing bracket badly.

What is your work primarily? What is your bread and butter? You could always get the names of some good cable builders and call them up the day before you have a gig with a camera you can't yet power. However, if you're looking to plan for the future, I'd say it starts with the gigs you're already getting.

If you sell the rig without the ergo handle, please let me know? Very interested.

Would you consider selling the XCS ergo handle separately?

We also hope to offer everyone the best support possible, and invite you to come by any time, and see how we make the monitors.

And bring the man a Diet Coke or Diet Pepsi!

Guess I better buy a unicycle, gotta stay competitive...

AJ: Yea, AMIMON introduced the sticks back in October, but they did it as a "see what you can do?" type of thing. I think LG Innotek showed off the first "stick" at CES, but nobody's really brought it to market yet. I'm interested in seeing the range on them!

Operators are standing by...

 

:D

 

Robert

I see what you did there...

I bought my 6.5" Cinetronic 4:3 monitor because I wanted the daylight view capability, but also wanted a smaller image size to scan with my eyes. I know, not great bragging rights for monitor size (motion of the ocean, right? RIGHT??), but I find it's better for my operating.

hey william..

 

while balancing high mode..i usually keep a drop time of 2 seconds...

 

but for low mode ,ofcourse the bottom is heavy but shud i open the post n keep the same drop time???? :huh:

 

kapz

With the rig upright, you need to move the gimbal down so the camera side moves further from the gimbal, therefore making it camera stage heavy. Then the rig wants to sit with the camera low and the batteries high. Adjust gimbal position to adjust drop time as normal. If you want to get more post space between the gimbal and the upper junction box, as well as get the camera a little bit lower, extend the post and then move the gimbal position to set drop time for low mode.

What aren't you getting right?

I think adjustable framelines would be critical over canned framelines. Everything else sounds cool.