Michael Hauer

Anyone know of a solution for this? Abel showed a top plate with the handle and viewfinder taken off at NAB but it voids the warranty and isn't available yet.

If you are using the F3 with the nanoflash and not recording onto SxS cards can u run/stop the camera remotely? If so is there a way to use the runstop on the bartech or do you need a proprietary remote for the nanoflash?

Need one for tuesday. If you have one please get in touch. Thanks!

Does anyone have the MVE21? I'm expecting shipment of my new BDF soon and need to buy a motor. The MVE21 has less torque than the 26 but it is also quieter and lighter. Are there any lenses that it can't push around?

Afton, thanks so much for your reply. The director randomly procured a Jerry Hill mount through a friend so thats why I didn't get in touch. One quick question to all. This shoot is a skeleton crew situation without a real grip department so i basically need to plan the rigging out myself. We also don't have speed rail unless I order it but have a Mitchell High Hat. The camera car is a chevy suburban and has to be so because we're shooting on enviornmentally protected sand dunes where only one company's special trucks are allow to go. Its not an ideal situation. Anyway, I've never done a vehicle mount with a high hat. What's the best way to rig it?

Need to rent one for a shoot July 13th. Who should I call?

I just cut the ac adapter off the power cable and soddered on 4 pin XLR. Just have to use a multimeter to find out what is hot and what is ground (4 pin XLR only actually uses pin 1 and 4)

Mark do you have any info for that Opitek repackaged device? Googled it with no luck

Thanks Jerry! Good to know. I'm hoping to help organize a test with Peter Abraham's tango when it gets back to NYC. Some of the things i'm thinking about: I'm really interested is seeing what camera and lens combinations are possible. Lenses to me are more important. For instance, I could see I a production agreeing to use a PL mounted 7d for a specialty shot, but not if it also had to rent lighter glass, or be restricted from using filters and a mattebox. Also was wondering about the weight of sonys new FS100 which is supposed to compete with the DSLRs but has more proffesional controls and looks more like a camcorder. It has a clean HDMI out also so it could work with a 3rd party recorder, and thus a better codec. For broadcast applications are there any cameras out there right now, sort of on the HVX level that would work? When I was playing with it at NAB, i noticed that judging horizon was particularly difficult, is there any way to incorperate a master slave buble (or digitial) level system?

Holy Sh***t, the ending sequence was really incredible. He had to have a segway or something for some of those running shots. Either way, perfect horizons and such energy!

Jerry, what's the aproximate boom range at the shortest configuration?

Hey All So I have a RED gig on monday, and I'm worried i don't have enough batteries, but the owner of the camera has a bunch of red bricks. Is there any reason not to use them on the rig? I hanve an archer2 (vmount of course).

Peter Count me in for monday!

Hey All I'm a new operator and will be at NAB this year. If there's any kind of get-together, i would love to be part of it and meet some of you!

Michael Please keep us all informed with your progress! This would be huge for me, I'm just starting out and right now can't really even spring for the Camwave, but I've been doing alot with dslrs so I really need a transmitter and have had discussions (arguments) with production every job i've had about how they need to rent one. If you made a more production ready prototype under 2k I would be interested in buying one from you as well.

Hey All I got a chance to play with one at my workshop and was really in love with the possibilities. So far it seems its only compatible with the Zephyr. Now that its been out for a few months, does anyone have one? So far i've only seen test videos on youtube, has anyone used one on an actual shoot? Would love to see footage. Wondering also if it could handle a very basic dslr 'pro' configuration like the zeiss compact primes, mattebox, and a bartech (thats about 6 pounds no?)

Is there any noticeable delay? Did I read that right 200 bucks and change?

Thanks Jerry! Forgive my ignorance.

Hello All I'm a pretty new operator, so first of all i'd like to introduce myself and say that i'm excited to use this resource for years to come! I took my workshop in december, bought a demo archer2 almost immediately afterwards and since then I have had a few small jobs, one 'real' commercial and have also done a few self produced shoots for my reel, so I'm still figuring everything out. With that said I'm still struggling with don juan. I don't think it really a form thing necesarily, i can make successful switches doing my line dances at home, but when I'm on set in the heat of everything I find that I don't want to take my eyes of the monitor to look where i'm going. So i've mostly done don juan 'blind' to where i'm going, which seems to defeat the whole point. So yesterday I did a test shoot running (fast) down stairs. To achevied this i flipped the camera backwards facing the battery so I could look at the monitor and where I'm going at the same time. Doing this worked well but when I got to the bottom of the stairs I i tried to make a switch and whip pan to another charachter and everything was completely disorienting and backwards. So then it dawned on me, why not mount a lightweight monitor like the smallhd dp6 by the battery bracket? I guess I'd have to add more counterweight on the 'A' monitor side to make things work. Has anyone tried this? thanks, Michael

I thought it was great! Epic silhouette

http://www.youtube.com/watch?v=AbbP4k_Y2Uc&feature=related. I didn't watch the oscars but my girlfriend called me in hysterics when this appeared 00:15. How come they didn't have transmitters!?!