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Chris Stiles

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Chris Stiles last won the day on April 5

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About Chris Stiles

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  • Rig
    GPI Pro Cinema HD 2
  • Location
    Tennessee, USA

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  1. Letting these plates go since Iā€™m on a different topstage now. $50 per plate, (3) available. I pay shipping if they stay in the USA. Thanks!
  2. This is an old school PRO docking bracket that should be good for any 1.5ā€ post. Two docking rings. $150 OBO. I pay shipping if it stays in the USA. Thanks!
  3. Selling my PRO DBII Topstage. It's in great shape, fore/aft and side/side work smooth. I have paperwork for it getting serviced in December 2019 by Tommy Stork. Asking $1,700 USD. I'll pay for shipping if it's staying in the USA. Any questions just ask!
  4. I would love this if it's for goofy operators. It looks like the Klassen ones are specific.
  5. Checking if anyone would sell me a used one before I buy new...
  6. Sorry nobody has responded to you yet. I would recommend getting yourself on the waiting list on the SOA website and hope that one opens up, and be willing to travel. It sounds like COVID created a logjam for workshops and it might be next year or longer before the logjam clears up.
  7. I'm interesting your sled.

    1. Tanatip Khamchan

      Tanatip Khamchan

      Still avilable?


  8. Up for sale is a Masters sled that is in working order, but has not been professionally serviced or inspected in at least 10 years. I just pulled this sled from the gear locker at my alma mater (film school) and it was the sled that I learned on while I was a student there. After I left the program, there was nobody who took an interest in Steadicam, so the rig has been resting in the case for the last 5-6 years. The rig powers up fine from the gold mount, supplying power to the monitor and up the post (picture with the Bartech RX is drawing power from the topstage) and the analog video signal works down the post and to the monitor. I picked up the rig and did some wiggle/jiggling and didn't cause any dropouts. Gimbal feels smooth, and topstage knobs turn smooth. Obviously, based on the environment it's coming from, I would consider this rig a project or practice rig. Kit Includes: Masters Sled Docking bracket Panasonic monitor Flight case (1) Dovetail plate (1) 3pin LEMO to 4pin XLR power cable AB to some battery adapter that I am not familiar with Asking $2,000 USD Feel free to reach out with any additional questions, thanks!
  9. Ah nice, that is helpful, but I still have to make a bunch of assumptions: So, assuming you're going to shoot full 6k raw 3:2 "open gate", that is a capture resolution of 6048 x 4032. Assuming you're shooting 2x anamorphic lenses, your desqueeze will be easy math (divide the vertical resolution in half) resulting in 6048x2016. This is a 3:1 aspect ratio, which is way too wide. Multiply your new vertical resolution by the desired aspect ratio, and that will tell you how much horizontal pixels to cut. Assuming 2.40:1 is desired result: 2016*2.4=4838. 4838x2016 is your answer in this scenario. 6048 - 4838 = 1210 pixels that need to be trimmed from the sides (605px off each side) to get that desired result. Keep in mind, this is assuming you're shooting 2x anamorphic on a full frame camera, which is highly unlikely. 2x anas don't cover full frame, and even if they did, as you can see, you're throwing away a lot of unused pixels. Therefore it would be more common to shoot 1.8x chameleons/Vayzen or 1.5x cooke full frame anas. Whatever you go with, divide that squeeze factor by your vertical resolution and continue on from there. Because this is a forum full of knowledgeable film people, I'm sure I will be murdered by words in no time if any part of my process is incorrect. Edit: I guess you can easily shoot 2x anas on this camera if you don't mind throwing away pixels on both axes until you achieve coverage. In that case, you'll just have to test lenses to determine your crop factor and final resolution.
  10. Hey, thank you for the response! That is a good perspective to have. I sure enjoyed learning on this rig when I was at the university. I think the plan is to sell the sled as-is, so I might be creating a classified post for it shortly.
  11. It's pretty easy math if you know the exact resolution in pixels of your capture format. You say 4K 4:3 but that doesn't really mean anything....the two standards of "4K" are UHD (3840x2160px) and DCI (4096x2160px), neither of which are a 4:3 aspect ratio. Also, your final ratio is interesting....2.1:1 doesn't sound like a standard I have heard of. 2.39:1 or 2.40:1 are the common cinemascope final aspect ratios. Perhaps you meant a 2:1 pixel ratio for the anamorphic desqueeze? That is part of the process of shooting 2x anamorphic lenses on digital.
  12. Hey all, The film school I graduated from could use some guidance on their old Steadicam rig. I had many good times with this old thing when I was a student there, and tried my best to take care of it, but in the last 5 years or so, it has severely fallen behind on its needed maintenance. Sled: Masters Broadcast? Gold mount, but power is intermittent. Unsure if SD video line still works. Panasonic monitor unsure if working. I'm sure the topstage needs a tuneup, and the bottom stage is obviously a mess. Arm: ??? Not sure what model it is. I know it had been serviced about 5 years ago, unsure of by whom though. Since then, it appears a student must have snapped off both lift knobs. Vest: Ultra? LX? Seems to be in workable shape. Velcro and ratcheting buckles seem good. A little visible rust creeping in on the chest plate and knobs. Is it worth the university sinking money into refurbishing this rig, or should it be sold for parts? They MAYBE have $3k in working capital that could be thrown at the rig for repairs. However, a smaller, introductory platform like the A30 or Zephyr seems like a better fit for students learning the basics, especially considering they do most of their short films on Blackmagic pockets, REDs, etc. Any and all advice appreciated, bonus if someone wants to make an offer on the lot!
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