Twojay Dhillon

So I finally was able to do a full prep w/ the FIZ. Everything looks great; Will double-confirm on Sunday when I operate with a bunch of see-the-world-shots and the AC is pulling off monitor that will be a fair distance from me.

Nope, you just need to download the software from the Preston site. You will need the cable to plug into your HU3 and MDR2 (comes with your system) and then you will need a serial-to-usb adapter (Fry's Electronics for about $10). B) Oh, you'll also most likely need a serial driver; Available from Preston's site, also.

We used this Tx/Rx on my last job at Union Station. Rock-solid signal with the big 4 bank receiver-antenna. We were line of sight, maybe 120' away outside and perfect signal. We had a few sets of concrete stairs and other large obstacles in our way once we shot on the tracks, indoors. Again, perfect signal. Honestly, it's the first time I've been on a shoot where I never heard "Where's the video?" once. Nacho and his lady were the VTR folks and they are known for carrying quality gear and being very adept at using said gear. Also, the size is perfect. Almost identical to my Canatrans and, as such, it fits into the slot where the hard-drive would go on a RED ONE cradle (was using it on an EPIC). Very, very solid system.

So the good folks over at Preston replaced the board in my MDR2. Heading to a prep tomorrow to put it through its paces. Will be upgrading to the 10-point system tonight.

If spaghetti's are prone to interference, then what use have they at all in the film/digi world? I've used Andrew's cables on a few projects and have had zero interference issues. Hell, my FIZ has had probs, but not his cables.

Holy canolis! :o That's a phenomenal deal!

I agree that long-lenses on Steadicam aren't the smartest choice from a sharp-focus standpoint, but I am noticing a trend toward using longer lenses, especially if the DoP and/or Director come from the still world. In the past couple weeks I've flown the 135 and a 200mm on Steadi. Both Directors come from the still world. Both jobs were WFO-shows and the AC's and I are due a drinking session to commiserate over those lens choices!

There was my Preston on set, and another non-Preston WFF was in use. We switched channels and still had issues. I just spoke with a veteran AC buddy and he said he had the exact same problem on Oblivion. He said to try and switch out the antennas and if that doesn't solve the issue to take it in To Howard & Co., as his (also G4) had a bad board and had an identical problem to what I'm currently having. Oh, and switching between 12/24v makes no difference. No problemos with the 10-point, eh? The second time in 5 minutes that I've heard adulation for the 10 point system. Perhaps I should give it another go after I sort the comm issues out. Thanks B)

This has happened now on two consecutive jobs and I've been toe-tapped two-times-too-many as a result. The first job was with an Alexa, the second -- unfortunately -- was with an EPIC (how this would make a difference, I have no idea, but providing info anyway). I did upgrade to the 10 point software and then went back to the 6 point based on really, really not-positive feedback from a few AC pals. Here are the symptoms: build camera; go to map lens; press "recalibrate" on the MDR2 and the motors turn and find their end-points; go to map lens and turn focus knob with HU3 powered on and power from sled to MDR2 (green light on side is lit, the motors found their end-points) and NADA. After a few resets of power from the sled, magically there is comm. Then we will walk it into set and BLAMMO, no comm. I had the MDR2 & HU3 on channel 1 the first time I lost comm; The second time (after no comm using ch 1), I switched to ch 11 on both units and then there was comm. And then I walked it into set and intermittent comm. Location 1 was an open-field with no power-lines in sight; Location 2 was Union Station, both exterior, upstairs, and down on the platforms. Oh, and the distance b/w the HU3 and MDR2 was anywhere from 3 ft to 20 ft when comm was lost. Yes, it has happened in the middle of takes (the most painful was on a 135mm fast back-pedal on a leggy model who was doing a hybrid scared-gazelle/Victoria's Secret gallop from a cowboy into a CU). Any advice appreciated. Thanks, all.

In the interest of fairness, my Switronix Recon Ultra showed up DOA, out of the box/cardboard coffin. The folks at Switronix were quite concerned and encouraged me to go through the dealer I purchased from and to report back on the replacement. I was having another Op test out the Recon Ultra on a shoot last night but we could get no picture whatsoever, so we switched out to my Canatrans (hooked to an SD video tap off of a 16mm film camera) and the picture popped up immediately. I shall report back when my replacement Recon Ultra shows up.

Just picked up a HD Transmitter and would like to source some Anton Bauer/Gold Mount to V-Mount adapter plates. Need both sides. Thanks, all! B) 510-708-8576

Just had not one, but TWO CamWaves fail miserably on me over at Hollywood Air two days ago. Sub-rented a Switronix and the picture was rock-solid. Just paid for a Switronix Recon Ultra from B&H, yesterday.

I think we should ask Cricket what you two were doing till 5am.... We were discussing dynamic balance...came up with some new equations too! Did she pan flat? That is a subjective topic due to personal interpretations of vertical and horizontal vis-a-vis framing for the environment, drop-time, however may need to be confirmed.

Aaaaaaaaand with that I welcome you to the Steadicam World, N00bs! Too much lolz at my house right now!

I haven't run into this problem for quite some time, but thought it would be a great tidbit of advice for those with less time in the saddle: A few days ago I was shooting on an Alexa setup (anamorphics, Alexa Plus, focus & iris motor, mattebox, eyebrow, Canatrans, onboard Anton Bauer HCX) and ran into what may have been a really frustrating problem had I not remembered what a veteran op had taught me a while back: "...if you're having problems balancing your rig, shake it a little..." While this may sound like a different take on the "Can't find it? Grind it!" ethos of the racing world, it actually has a solid, Steadicam grounding. Giving the rig a shake will let you know if there is play in either the camera itself, camera-to-lens, camera-to-stage, intra-gimbal, gimbal-to-post, or in the lower section of your rig (batts, recorders, monitor, etc.). In my case, the BPA was loose and was causing the rig to rock, thereby throwing the balance off; It was extremely pronounced as I was setup in poor-man's low-mode. I'm glad I shook my rig; You should shake yours. And go to Jumbo's. And vote for Pedro. And beg Mr. Fletcher for a ride in his auto-mo-beel. B)

I'm also interested in a GIII PRO lower raincover! Can't stand the seranwrap!

PRO arms don't need covers. Just operate and towel them off afterwards.

I can bring the guaranteed-to-win TB-6 :D

In the words of George Costanza: "I WAS IN THE POOL!" After I warmed up, I lost the bloody discount. PADRINO LOL!!! I'm totally unqualified to answer, as the majority of the adjusting was done under the velcro of the back-flap after Jack dropped the center spar by one screw hole and adjusted the angle of the dangle of the chest-strap attachments to the chest-plate (I should seriously know the correct nomenclature of these items by now; Please don't punish me by making me drink anymore moonshine, Jack!) I believe the best answer will come from Jack and I may very well be able to transcribe what sayeth he, direct from PRO HQ, mañana. Stay tuned! p.s. Even though Jack dropped the center spar by one screw hole, the waist pad is riding no lower than it was before. Yes, it is a dark, dark, art that Jack and Co. practice over there in Santa Clarita. :ph34r:

Seconded

Pics/video or it didn't happen. Guaranteed to happen, bubba. B)

Let's get two things out of the way so that we can completely swerve around the inevitable ass-grabbing, or just get right to chapping said buttocks: 1) I AM A GPI PRO FAN-BOY 2) #1 IS A FACT BECAUSE OF #2 (WHAT YOU'RE READING): THEY MAKE THE BEST CAMERA STABILIZATION EQUIPMENT, PERIOD. Okay, now that that's out of the way and you're either nodding your head or wiping salve from your mitts, allow me to divulge. I've been notified -- shall we say -- by my mentors about my not-so-ideal operating-posture. Additionally, a previous shoulder injury has flared up in recent months. In an attempt to remedy these items I, with my twelve-squirrels-on-bath-salts-for-brains, concoct the idea that by placing more weight on my hips I would take some pressure of my shoulders, thereby allowing me to operate more-upright and also take some pressure off my bum-shoulder. I make a call to PRO, where the lovely Michelle answers and tells me to get my vest and butt up to the shop, stat. Upon arrival, Jack looked on at me with tilted-head as I explained my crack-headed idea. After appeasing my desire to bias the weight to my hips, for a few minutes, he prompted me to take my vest off in the way that only Jack can. Next, Jack tore my vest down to the nuts and bolts (which were replaced with NEW nuts and bolts as is standard at PRO every single time your gear goes in there) and began his mad-scientist-mission. 20 minutes later I'm traipsing about the shop like an overgrown ballerina. Upright and in a lot less pain. And Jack did this without biasing the weight of the sled to my hips. A bloody genious, that man. Thank you, thank you, thank you, GPI PRO for being the standard that I feel all businesses should aspire to live up to. :D

Just checked my wireless case and it looks like my 4 pin XLR to AC has disappeared. Let me know what you have and for how much. Thanks!

Jess -- Want it! Sending you a PM now.

I know Ed Gutentag was selling a complete G4 singe channel package, should your needs change. Good luck with your search.