Anders Holck Petersen

I always prefer to do my own playback. With the Alexa you are quite limited in material you have on-board (2x13 min), so it's cumbersome to preview an earlier take. Also if you just want to make a stealth personal playback to the steadicam screen only, the extra on-board recorder is a must have. I would prefer a small unit with hd.sdi, recording 20mbit h264 to a portable usb flash stick....

The original G50 arm post was designed wrong. Basically the G50 arm post consists of a steel inner core, with an aluminium cap. The original one was designed with a smaller diameter inner steel core than the updated one. How do I know? I actually had an early serial G50 arm where the post snapped right off mid shot, because the steel core broke. This was while riding a pretty light camera, but with a long post. The breaking point was right at the point where the core had a machined groove for the fixscrew of the alu cap. Fortunately no one was hit by the sled, but I had moderate camera damage as it was a slow lowmode shot. I'd advise anyone to change the post asap it you own a lower serial arm, with the original post! Never had any other issues with the arm....but upgraded later to the G70, due to the weight limits. The G70 did feel a whole lot heavier, and has a much larger footprint (where did my monitor go?) I also own the PRO arm now, and generally it does feel a bit smoother overall, but as I'm a real sucker for Isoelasticity (New word?) and rapid arm adjustments, I tend to choose the G70 most of the time.

Robert, nice meeting you last week at NAB. Didn't really got to see the monitor again after our brief chat ( Spend too much time at the pool I guess. ) Really liked that Angenieux lens though! Regarding the bubble, I mostly use it to line up shots, watch level during really dark passages etc. To be able to scale it down to be really un-obstructive is really important, just having it at the edges when you really need it. I really don't care too much about the LEDs on my ultrabrite 2 as they tend to be obscured by the yoke/arm, placing them on the top of the monitor would seem preferable though. Seems like a good solution at the time when HD genlock/CG chiposets wasnt available. On my Transvideo HD6 I tend to prefer the old 3A type bubble with the vertical/horizental line pattern. One thing that could make the bubble much more useful would be motion compensation using modern MEMS sensors. I was very impressed by some of the iPhone bubble level apps which must be utilizing the accelerometer and/or Gyro to offer a 3 axis motion compensated bubble level. Even during quick acclerations/deaccleration and rotation, they seem to show your true level (within some limits) One thing I have dreamed aboutis a level that would work when during fast tracking shots from a vehicle. Dont know if its possible. Shot a few of those on cameras with rolling shutter (RED/Alexa) and it was a nightmare to get straight, as true vertical edges shows up as angled on the monitor, and only horizontal features gives the true level away...:very confusing Regarding framelines/crosshairs, I really like a centercross, especially when doing long lenses stuff. Not really to frame after but to notice if I'm drifting across features, or when trying to do a lock-off. Framelines are especially great when doing things like splitscreens etc. Both are featured on seperate outputs in modern cameras like Epic/Alexa, but having them locally on your personal monitor is much more flexible.

Also used billings for a few years, before moving to a real booking system (Easyjob on Win7) Very happy with the features especially the reminders and mac like interface. I would have liked an integrated calendar to book appointments and gear, but just used iCal at the time.

Why all that negative energy? It seems to me that Dean had a great time at the workshop, and just wanted to tell about his experiences. I can't see why anyone should attack him for this. I met Curt a few years ago and he seems like a nice guy. He also seemed interested in making some nice equipment and I must say that I very much respect what he has created at Sachtler. I really like options: the more the merrier. It's also great to have a steadicam pruduct line from an "european" manufacturer (besides Howard) While I personally have my Ultra2, Flyer Le, and GPI Pro rigs, and no sachtler or MKV stuff, it's really great to have a producer nearby. Can't see why we need to discuss this "he didnt invent that" every time. Also be aware that sometimes the language barrier can make some statements distorted into something that wasn't intended....

I think the foremost thing is to feel the level of the rig thru your operating hand, instead of observing it on the monitor. If you simply observe that your shot is going off level on the monitor it's almost always too late...and you tend to overcorrect. Developing that sensation, takes practice to couple the feedback you get from your fingers, into a correcting force to apply with that same hand. This will also help you nail shots in windy conditions, as you can feel what the wind does and (try) to correct accordingly. Also remember to use the boomrange of your arm, instead of tilting to get your headroom. Keeping a tilted post with a straight horizon is much harder that booming up or down with the post straight, as the operating hand is much more relaxed.

I'm selling one used Hill Gorelock Autodock 2. It Includes one 1.58" docking ring for Master, Clippper, Phantom, Ultra and Ultra2 sleds. (Jerry Hill sells additional rings from 1.5" up to 2") It is the Autodock and ring only, so it does not include a docking bracket. It can fit CP, Tiffen and Jerry Hill docking brackets Condition is good mechanically, but it does have a well used finish. Asking price: $295 Located in Copenhagen, DK.

The gimbal yoke depth for the arm post is 38mm, if thats what you mean...

Hi Michael. Don't know if this will help you, but I have been using my Ultra2 and RED One's for over a year now without any issues whatsoever. Did you also experience this the other day when you shot with one our RED bodies? (Phone booth etc.) Best Regards Anders Holck

It can actually...That is what makes a great gimbal hard to design. All axis need to collide at the same point, and the Pan bearing neends to rotate around the exact centerpoint of the post. Also in the long run, everything needs to stay in place. Imaging how a gimbal like this would perform. First imagine you are trimmed and then pan 90° and let it rest.

I'd be much more concerned about another part of the body when doing lowmode... The Camwave HD transmits a 5.8GHZ signal at a peak power of max 0.050W when CH1 is selected. Your average wifi enabled laptop is something like 0.059W at peak. I wouldn't worry to much, but of cause as with all radiation, try to minimize exposure. Just to be on the safe side....is it possible to operate in faraday suit :-)

Thanks for the report Eric.

Most broadcast equiptment will operate on an input voltage between 11.5v and 17v. The Li-ions you mention will most likely be around 16.5v hot off the charger and drop to 11v when depleated. It will work fine. No need to worry. The Amperage hours (AH) describes the capacity of the battery: how long it will power your monitor, follow focus (and camera if powered off the sled). A higher capacity will just run your ascessories for a longer period, it cannot fry or destroy anything.

Convergent Designs Flash XDR, Fast Forwards Elite HD does somewhat the same. What they all lack is trick play functions. If the microstorage will support normal jog/shuttle operations it will be a great product that is really usefull for onboard recording.

Hmm....the 10s HD doesn't seem to be mentioned at all on the US site http://www.idxtek.com Only the standard 10S 6300 mAh with 69W max load is mentioned. But the 10S HD is right there on the UK site http://www.idx-europe.co.uk Ok, so it seems like the HD version is only sold in Europe.

"If it checks out, then this is relatively new" Yes, IDX europe introduced them in june last year. Most likely a clause of the original agreement between Tiffen and IDX. (wild guess) I have been running both on my U2 and RED one, since last year and they both perform as expected. With anton bauer releasing the similar high current 6000mAh/110W battery, it would seem as the cells are indeed in general distribution. As I reread my original reply, it did sound a little wack. What I ment was indeed only that you could get a similar performing battery from IDX that closely matches the Powercube. Not that it is 100% the same (although I would guess it is similar) I have edited my original post :-)

You can get a similar performing battery from IDX. It's branded as Endura 10S HD. Its specified as 6150mAh with 110W max load. . Tiffen specifies the PowerCube as 6000 mAh with 110W max load. http://www.idx-europe.co.uk/?p=products&am...ENDURA-10S%20HD

Yes, it works perfectly with the 720p output from the RED One..

Ultra 2 Vest. As new condition with only very light use. Includes vest duffel bag. Similar to this one at Whitehouse But has dual tighten knobs on the socket spar. Asking $4000 Located in the EU

Element technica makes a top cheaseplate that will mount in between two red top mounts. Perfect for "rightside up" lowmode. Otherwise I'd personally opt for "upside down" lowmode as that will get the lens closer to the ground.

It also depends on what you expect of the connection. If you just want to hook up a HD LCD display on your sled my guess is that all the signal loss and jitter introduced in the post wouldn't matter one bit (assuming you bypass the composite video da of course) If you also want to record a pristine signal it's a whole other ballgame. But I have send single link HD-SDI thru lots of small gauge wire extended thru bnc tubes onto 50 feet cables for monitoring many times and it seems to work fine. But as Jerry says, test before doing anything irreversible.....

Oh great, just bought a brand new ENG 8.....

Sold!

The Major differences: 3A: - The camera dovetail can only slide onto the camera stage. Pretty awkward. - The fore/aft adjustment is a direct gearing to the dovetail. Means that the adjustment is very coarse, and if you don't manage to tighten the separate locking screw, the camera will slide out of adjustment when tilting or if you blow it totally, off the stage. ouch. DB: - The Camera dovetail uses a modern vertical drop in/clamping stage. - The fore/aft adjustment is a vernier drive, inside the camera stage. The dovetail is clamped to the upper part and when locked you can still adjust the tsage. Get the DB, no competition.