William Demeritt

Michael,

I just picked that exact box up a week ago, going to some testing with it later this week. Considering the specs, I think it has a lot of promise, but you'll need some additional pieces to make it work in our world. I've already got a Decimator2, so HD-SDI to HDMI isn't a problem. HDMI back to HD-SDI over BNC (since most field monitors don't have HDMI) is one thing, but the AJA HA5 should remedy that problem.

I'm hoping to get into Clairmont in the next few days and do some testing/playing around, I'll be sure to post my findings. Hopefully they'll have a RED I can toy around with...

As for powering the device from your sled, I have a spare AUX PWR cable (the 2-pin hermaphrodite LEMO cable) which I'm going to rewire personally. The device requires 5V @ 3amps, so I've got a 12/24v -> 5v transformer coming in a week or two that will support that kind of power. I plan to just solder it in line with the cable I already have, and then connecting the proper DC power plug on the other end.

The catalog is easily found on the mouser.com website when looking at the product page for any LEMO connector.

Still trying to understand the naming convention though.

Curious to see these photos?

While I really love my standard def green screen PRO monitor, the rate at which my battery drains is a nuisance. Considering the intelligent display of the Anton Bauer batteries are opposite of me (normal operating), I set out to find a proper voltmeter.

However, buying one is no fun, as it presents minimal opportunities to purchase new tools and subsequently burn yourself on a 2400 butane torch (so much for ever playing the violin). Regardless, I built this using a few links people offered on the forum and numerous trips to Fry's (that place is DANGEROUS).

Basic operation: left and right switch.

LEFT switch UP: LCD displays current voltage of MONITOR battery.

LEFT switch DOWN: activates the RIGHT SWITCH.

RIGHT switch UP: LCD displays current voltage of AUX battery.

RIGHT switch DOWN: LCD displays current voltage of CAMERA battery.

P-taps run to batteries in this order:

RED = camera

GREEN = monitor

YELLOW = aux

BLACK = LCD, this goes wherever you need it.

The LCD cable is a good length, so I can run it any numbers of places, depending on the need. Right now, I have velcro just above my monitor so I can attach it facing me. Whole contraption feels like it weighs under 1lbs, not entirely sure.

By leaving the left switch up and right switch down, it lets me watch the MONITOR battery at all times, and occasionally throw the left switch to watch the CAMERA battery.

PARTS:

- Digital Panel Meters +4.50 to+19.99V 13mA DC red LED v monitor

- 3x Anton Bauer P-tap plug kits (bought from Bandpro)

- wire

- aluminum box from Fry's

- 2x switches from Radio Shack

- Stylish heat shrink tubing

I only say yes to "deferral" gigs (Steadi or not) if A) it's for a personal friend B. I will get some killer material for my demo reel (and I trust I actually will get the footages, and/or C) it sounds like fun and I have nothing better to do that day.

 

I NEVER take a "deferred" gig with any expectation that the money will ever appear or that any promises will be honored down the road. Just being realistic.

Completely agreed.

He wanted me to sign a contract that would "pay me on the back end". The back end of a film, that may or may not get made, that I would be shooting a trailer for. The level of absurdity boggles my mind. Sure, I'm a newbie, but really? I'm supposed to show up on set with gear that I payed my hard earned money for, work for 20 hours, and hand over the footage in the hope that I might get something back in the future?

I've done this once, but it was a favor for my friend who was the DP (not just a "friend" but an actual friend that I go way back with). I also worked only a few hours, albeit in some annoying terrain, but it was all good.

I guess it just comes down to whether you think it's a good opportunity or not. If you think about it, maybe they get a product to shop around, and you get footage to use for your reel. Make sure the contract states that, if they get the movie made and they make any money off it, you get your FULL rate and maybe some hopes of working on the feature. Also couldn't hurt to try to negotiate some points out of it.

Hey, it's a gamble, but if you have no other work that day, and you want to do it, go for it?

I still love my Eagle Creek bags and plastic baggies inside.

Janice: I now have the Deci 2, and the number of DIP switches truly boggles the mind. I have played with the 16:9-4:3 and NTSC-PAL switches. May give them all a run through soon, just to be thorough.

Charles: the many variables are driving me bonkers. However, a BNC terminator on the Modulus sounds like a good idea. In the next few days, I'm going to try to borrow a RED body and lens (and battery) from a friend who owns a package, just to see if I can track it down when I'm not on set.

Unless you are using a PRO arm, which requires no rain protection. Much like the XCS Sled which only requires a small piece of clear tape over the LCD display to make it rain proof.

 

When it rains I only need to cover the Camera/MDR to make it rainproof

So the PRO arm requires no rain covers? Why is that?

Alec: I've previously experienced the issue with a CIT DX400 diversity tuner (even when the antennas have a strong signal, the distortion is present). Currently, the issue is reproduced on my Sony T1041U and a Viore 7" handheld LCD TV. Both of these receivers receive a wireless signal properly when I'm transmitting without a Decimator (tested most recently with an XDCAM with onboard down-converting, an Arri SR3 and Panavision Millenium.

Jess: I have PRO2 telescoping centerpost, and I usually wire up a RED job like so:

- HDSDI1 -> BNC (I've tested numerous shorty cables, all that are good to carry HD images) -> Decimator (1 or 2) HD-SDI input

- SD output from Deci -> BNC -> PRO2 Upper Junction BNC [an image now appears on my monitor]

- Vid/Pwr -> PRO-Modulus cable (I've tested 2, as I own 2) -> Modulus 2000 Power

Whenever I've wired up the cameras that transmit just fine, it usually goes like this:

- Panavision Millenium -> BNC -> BNC Connector on PRO Upper Junction. [image now appears on my monitor]

- Vid/Pwr -> PRO-Modulus cable (I've tested 2, as I own 2) -> Modulus 2000 Power

I haven't tried going from Decimator 2 to Modulus yet, I honestly hadn't thought to try that yet.

I have tried changing channels, the distortion follows on every channel, and definitely seems separate from the usual/occasional interference.

I agree. Honestly, the distortion reminds me of watching old VHS tapes that are low, low quality.

Yes, definitely set to NTSC. Also, just to be sure, the Deci is manually set to 4:3 (although I have tested it with 16:9, still happens).

Alright, I've been dealing with an issue the last few months, and I thought I'd pose it here to see if anyone else can offer an idea.

Whenever I fly a RED One with my Decimator 2 (also occurs on Deci 1), my PRO 2 monitor sees the image just fine, but the video transmitted via Modulus 2000 looks distorted on the client monitor. Anytime I shoot with a camera that's SD output (35mm/16mm video tap, etc), the wireless video image looks good without any sign of this distortion.

I should have taken a photo of the "distortion", keep forgetting to, but simply describing it: roughly 1/5 of the way down from the top of the image, the image "bends" to the right in a sizable bar. Further, the overall image doesn't sit right or square on the monitor.

- I've encountered this issue after having my Modulus 2000 repaired by David Hable, trying a Decimator 2 and Deci 1, flying with multiple RED One camera bodies over the months. Even tried it with a Modulus 3000, same issue.

- Tried powering the RED off my sled (using the 12v ONLY block, so monitor and video accessories were powered off separate battery).

- Decimators were powered off d-tap on the camera's onboard battery, as well as powered off my sled on the camera port.

- Monitors that replicate this issue include: 3 different models of handheld NTSC monitors, various tabletop client monitors, etc.

RED One constitutes a significant number of my jobs, so I'd love to try and track down this issue and solve it once and for all.

Any thoughts?

I may reply with this:

Dear Mr. James Brown,

Thank you for contacting me! I'd like to Get on the Good Foot and say the job sounds pretty Out of Sight. I would love to hear more about the project, as I'm Bewildered by the prospect and working with you, well, That's My Desire.

I Got the Feelin', call it this Cold Sweat, or Call It Stormy Monday, but can you share with me the location of this shoot now? I mean, Ain't Nobody Here But Us Chickens, and Think (About It), For Once In My Life I Got You (I Feel Good) about this opportunity. Work has been slow lately, and I gotta Get Up Offa That Thing. I Don't Mind negotiating terms with you directly, after all, we're both Living in America. It's Magic!

Anyway, Try Me and I'm sure you'll Get On the Good Foot. Of course, email is no way to conduct this, and if I booked all of my jobs over the internet, well, What Kind of Fool Am I?

Speak with you soon!

Best Regards,

Mother Popcorn

Steadicam Owner/Operator

Yea, I've definitely had to bust out the rain gear on a number of occasions. I have a heavy jacket with a hole in the right pocket for passing out my socket block.

I'm more curious to see if anyone bothers practicing for operating in that crappy weather, and if so, how? If the wind is really bad outside, maybe throw on the rig and go outside for some line dances in wind gusts? Put on all the rain gear and have a friend spray a sprinkler into the air? Just curious...

Robert, I hope the guys on your shoot are OK!

Working the last 2 days in the crap weather LA seems to have discovered got me thinking: how do you practice for bad weather? We all do line dances, do practice group sessions, etc. However, how do you practice to make them as close to real shooting conditions when they decide to shoot in the rain, heavy wind, etc?

From what I've read, the copper Thunderbolt cables have an inherent limitation of 3 meters, whereas the optic fiber enabled Thunderbolt cables have a 100 meter max run. I think maybe a use could emerge with more development, but for now, a 3m max length on copper cables would be prohibitive for our uses?

I just found this clip on YouTube and it looks like it could finally give an answer to how flexible or lightweight a BNC cable can be.

While it definitely goes beyond the needs of HD-SDI and could certainly carry the signal from camera out (curious to hear about it's duplex capabilities), I think it has a few factors going against it. Fiber optics and fiber technology, while flexible, doesn't usually appreciate extreme bending, standing on, etc. Anytime someone steps on the cable, they could split the optic line and potentially destroy the cable.

Personally, when it comes to operating with an HD-SDI cable, I have a few of these in my kit, and they haven't let me down yet:

http://www.sjmediasystem.com/mb-mbf-6.html

Extremely thin, female on one end. I'm not fond of the crimping job, but they get the job done.

This is completely unsolicited from Grant:

This is a very good rig, and kept in excellent condition. I used this rig on a few shoots over the last few years, and it worked great for me. If you're looking for a great Flyer, you can't go wrong with this rig.

I haven't known you as an operator, but as a big name in my field. Our conversations have been limited to the pro's and con's of dating strippers and funny Iranian Steadicam audio dubs, so I feel that puts me in a good position to wish you all the best!

Couldn't you get a photo of the lady you were checking out that took your eyes off the road for so long? :lol:

Glad you're of good enough spirits to find humor in it. Helps ease the pain I'm sure! Have yourself one of those whiskey and Cokes on ice!

You can find a modulus 3000 on sale right now in the marketplace for under $2000. Then go shop online for a used Sony T-1041U tuner. Whole deal will cost less than $3k. Standard def transmission, and the Canon DSLR's have standard def video through the "AV output" connection.

Said it before, and I still believe it: the consumer wireless high def transmitters that use HDMI will bring down the costs of wireless high def transmitters in our industry. $10k+ for a Titan HD or Boxx Meridian, meanwhile Asus WiCast or Brite-view consumer kits sell NOW for $200 and give <1ms wireless HD transmission up to 30 feet through walls. Next generation by Amimon and Sibeam will do at least 100 feet through walls and more with clear line of sight.

Next big thing in Steadicam? Ron Baldwin wearing pants on set.

Pretty sure that's just vapor(under)ware.

Do you mean to say that during a whip pan or even just a steady pan, by the time it reaches 180 degrees it's completely off horizon, etc? If so, then your dynamic balance is completely wrong.

Won't tethering via HD analog component cable make for some gnarly operating? 5lbs camera plus chunky tether cable? Could they be convinced to let you run just a single HD-SDI BNC cable? Also, does your monitor have SD monitor take SDI?

If so, maybe this is a potential solution:

http://www.aja.com/products/converters/converters-hd-hd10ava.php

Wherever you rent it from, make sure it comes with the HD10AVA cable. I think that would give your SD monitor an SD signal (so long as it accepts SDI), and tether with HD-SDI. Only additional bit is to find a power cable for your sled.

Thanks so much for helping make this happen, Pedro! I can't attend, as I'm heading out of town that morning, but otherwise I would have LOVED to come by. Hopefully next time!