Kyle Wullschleger

Good to know! I should have just sent Pro and email asking for the weights of the arms before I assumed. The Atlas just looks so sleek. I've got a hunch that two blacks won't quite cut it unfortunately... but maybe I'll be pleasantly surprised.

I own a Titan arm and I'm going to be operating a show for the next two weeks where I'd like to give the Atlas a whirl - does anyone have an interest/need for the Titan arm on anything where they'd be willing to trade ownership for a bit? Located in NYC - the show is on a stage, entirely one location. Just wanting to lighten my load as much as possible and the Atlas is looking like a great option. I figure it can't hurt to throw it out there - hit me up if you'd be willing to work something out - kwullschleger@gmail.com My Titan is 2 blue/2black springs. Your Atlas would just need to have 2 gray canisters and I'd be happy.

Absolutely would love this for the 600 as well.

I'm in -

I'm sure it's a long shot, and I'll likely end up just buying new out of necessity - but I figured I'd throw out the request if anyone has a Pro gimbal they would consider selling in New York, I'm in need. Other gimbals considered, let me know what you've got! KWullschleger@gmail.com

Looking for a complete kit including a motor, I need a backup unit. PM or email if you're thinking of unloading one and what is included in the set. Age, condition and a couple photos would be great - Thanks! KWullschleger@gmail.com

Thanks for the suggestion, Brett, However - I just got off the phone with Inovativ now, and they said that the backstage bits are not compatible with their carts. However, they might have the bits together before the end of next week, but I'm in a wait and see scenario. In the meantime - if anyone is looking to upgrade their cart and wants a quick sale, I'm specifically hoping to track down a Scout 37 system. Thanks! -Kyle

Long shot, but I figured it doesn't hurt to ask. Does anyone have a steadicam outfitted Inovativ scout they'd be okay parting with? I may need a lightweight travel option by next week and the steadicam kit is currently backordered at Inovativ. Perhaps you'd be willing to part with just the steadicam portion of your cart for the exact price of a new one including shipping? I just spoke with Inovativ and the steadicam kit is expected to ship the second week of June which is a week later than I would need it. I could still order my own cart and have it in time if you're not interested in parting with the actual cart. Please get in touch if you'd be at all willing to work something out. KWullschleger@gmail.com Thanks!

That really is a rock solid shot. Nice work.

I'm operating a feature in Feb that is considering the MoVI as an option instead of a steadicam. I'll be operating regardless and we just did a test day with the MoVI using an Epic and a C500 and we were not overly impressed. We discused possibly using the Alexa-M but the rental company had theirs out on a show already, and we figured that it would be too heavy anyway. Initial impressions were not good... Today, our AC came across this piece shot with an Alexa-M on the MoVI... hard to argue with great results. http://www.arri.com/news/from-1994-shoots-on-alexa-m-movi/ To me, it looks that just like the learning curve of steadicam, you won't just be able to rent a MoVI and use it - you'll need to become experienced with the best setup configurations and proper technique in operating for both the remote and whoever is the 'mule'... they simply cannot just be a mule, it really should be a skilled operator. Perhaps the curve is less steep, but there is definitely a curve. Practice, practice, practice.

Not a oner, but this was a music video I shot this summer that made me think "I did this and I like it" - I was very happy with my operating at the end of the day and the cute girls didn't hurt either! My favorite shot falls at 2:05 - ending with a really nice big tilt/lockoff over a balcony. We shot it twice, used the first take. You know that feeling, where it just goes right... and you're holding it.. and you don't wanna let it go. Yeah, I like that feeling.

Ahh, that makes sense. It's a shame that the digital version doesn't have a power pass through but that is a great design on your part!

What's the power option you have Alan? This version just routes from the 2pin power out of the Bartech. Do you have an additional cable port on yours? Yours is smaller, this one measures approximately 2"x1.25"x0.5" - It does have a bnc option, I assummed it's there to send timecode though the sync cable, but I've never tested that and don't have any time code generating devices to give it a try. Maybe Chris can chime in, it wasn't sepcified when I ordered? Perhaps it's just an option to hook up Run/Stop through the Red breakout cable.

Here's the cable Chris made for me - very similar. Although no tally light like Alan put into his - that's a nice option!

Not to take away from Alan, but if he gets backed up and you are in need of one - Chris at East Coast cables made one for me exactly like this several months back. It's even listed for order on his site now under the Epic drop down menu - http://www.eastcoastcables.com/red/

The SmallHD power connector and BNC are on the base - http://www.smallhd.com/products/dp7-pro/images/Design-img12.jpg The connections out of the side are audio in and out, probably not a problem for any of us - http://www.smallhd.com/products/dp7-pro/images/Design-img1.jpg And it looks like the only composite video connection is on the side, so that could be inconvenient in those instances where you still need to have SD.

What lens will you have and what lights will you be stealing to setup in your room? At 5000 fps you won't be able to get away with much.

How much is it new? I don't see the price on Jim's site.

Upgrading to first class could make a lot of sense. If they are spending thousands of dollars per-flight already and it appears you get 3 free checked over-weight bags on the major airlines to begin with. Factor in the free booze and you've got a win.

Anyone have a Steadicam Jr. Cart in the NYC area they would consider selling?

My impression of it at CineGear is it seemed large... just large enough to be slightly awkward. What are the actual dimensions and do we have any photos of it attached to cameras? I didn't hold it to be fair so I don't know what it weighs, but it just seemed like it might be a bit annoying to find an ideal spot for it on the camera. Not trying to rock the boat, just give my honest impression.

I've had this experience as well when turning on an analog bartech that's powered from the same source as the camera which has led me to assume that it is indeed a power surge. It doesn't happen with fully charged batteries, so it seems when the voltage is already lower that the power it takes to turn the bartech on pulls it below the Epic's range. My solution has been to power the bartech through the sled - or like you said, power it on before turning the camera on.

Darren, can you elaborate on any issues with the Exo-Vest? What are they and how are they being addressed?

Good point, Evrim - and to be sure, the electronics in my sled are not fried and everything still functions after the incident, just the signal converter seemed to go, and luckily it was a really cheap SDI-HDMI converter - http://bit.ly/YWye4M Thanks for the advice John, I should have a chance to run by a hardware store tomorrow and run through the connections on my sled just to be 100% sure. I've contacted the Epic owner and after a conversation with him tonight, he said he doesn't have the camera in his possession currently, but he will report back to me as soon as he does. John Atkinson - do you know why turning the camera on once everything else is connected, or disconnecting batteries then attaching them last keeps ground looping from happening? ..... Just when I was starting to think electricity wasn't that complicated.

Evrim, I don't have any background in this stuff, but if it was indeed a ground loop - from what Terry was postulating and John Atkinson filled in the holes by putting a name to it, essentially it wasn't a charge coming from the HDSDI out of the camera, but when powered the camera chassis can have a charge, and when you place it on the sled, it grounds to the sled. The sled's electronics are already charged and I'm assuming grounded out to the chassis of the sled as well just by having the batteries connected, and in this instance, feeding power to my monitor and the signal converter. So when the charge of the camera grounds to the sled, if its at a different potential energy, this causes the ground loop then in some circumstances this can cause an electric shock. I think had I touched the bnc connection to any of the outputs on the sled, that they all would have been charged, but I wasn't aware of this at the time so I can't be 100% sure this was the case. In any regard, if I understand this correctly.... if you make all of your other connections first and the camera is already in the loop, when you turn it on, any voltage it may be outputting into the sled is a part of the circuit and not a separate source, so it's potential is the same? This diagram from wikipedia shows two separate power sources, Voltage 1 and Voltage 2 meeting at the same ground and causes a different ground potential. I suppose your question remains in the opposite form as well - if I just pulled off the batteries to rid the potential energy of any sled power, but put them right back on without incident, why wouldn't they cause a ground loop? Anyone with more knowledge or a better understanding care to extrapolate this further and explain?