Sydney Seeber

Had the same problem. Something had worked its way loose inside of the housing, I brought it by and they fixed it.

Any plans on a multi motor driver?

I did. It is a piece of shit. It is unnaturally heavy and they refused to allow it to work in wireless mode, which is really why I give it such a low rating. No one else at the entire expo had no problems showing off their wireless capabilities. There were other minor issues but I think it simply boils down to the fact that they have marketed this thing to the ultra low budget indie crowd and no one else. I've got a few things made by Redrock and they can make quality gear. That FF is a mistake.

SMPTE standards are going to make what you want unlikely. It's really best to rely on the camera's internal codec/data stream if you want wacky frame rates. I was playing with the Sony FS-700 the other day and shot video ranging from boring 24 all the way to 940 FPS I believe it was. At the moment however it's limited to the regular SMPTE standards (24, 25, 30, so on) exported out of the SDI port. EDIT: Here's the standards I mentioned earlier. Your recorder should say what SMPTE standard it is capable of recording, then just reference the chart here.

Their 7" 16:9 V-LCD70XHB monitor is a little brighter but the 6.5" V-LCD651STX-(Various sub models) has a (slightly) better coating for sunlight. I compared the two the other day and the "Transflective" coating on the smaller monitor essentially polarizes reflections better, i.e. the direct reflection of the sun is a smaller circle than the other monitor screen and you can still see a video image around that circle. The 7" is 800X480 and 16:9, the 6.5" is 4:3 and 1024X768. I thought the 7" version performed decently in sunlight as well, just not as well as the 651STX version. Both have user adjustable framelines, at least that's what the Marshall guy I was talking to told me, but he seemed not really sure of himself about that. The digital level is an add-on that needs to be cranked up all the way to max sensitivity to be of any use whatsoever. The advantage of the 7" version is that it's several hundred less than the 6.5" one.

Rolling shutter manifests itself in different ways, that jitter in the image definitely has some of that going on. Steadicam and jib shots are great ways to test for the effect when it is nearly nonexistent on a tripod. It wouldn't surprise me if the $40,000 some-odd Epic doesn't produce as much of that effect as the less expensive camera does.

That looks like a multitude of things to me. I see a bit of rolling shutter, a smidge of shitty youtube codec and what does seem to be a tiny amount of vibration. Rolling shutter will nearly always be worse on a steadicam simply due to the nature of that type of shot. You didn't knock it against anything during that shot? Cell phone in the pocket or something? Another possibility is the lens. Did you use a still lens or a cinema lens? I've had lots of stuttering issues with still lenses, I try and avoid them if possible.

200 people will still apply for it.

D800 - No analog video output. Space (Where the analog port was on previous Nikon cameras) replaced by headphone jack. 5D Mark III - Analog video output, shitty HDMI output. Still much better HDMI quality than Mark II. Based on playing with a Mark III about a month ago, maybe they fixed the video output. If you're getting the D800, why not get a field recorder for the HDMI video. It's 1080i, but it's a lossless interlacing. I'd explain that, but I doubt that matters right now

so I did me some maths & research on the batteries in question, they are indeed relabeled Chinese imports. The only issue I see is that they've all got the same current draw, all the way up to their 230 watt-hour version. It comes out to around 6 or just under 7 amp draw at best... So it doesn't seem as if they're a real alternative to the AB HC batteries if you're needing one of those. I base this on their wattage limitation which they claim is 80 watt draw max for all of their batteries.

you're right... all I see is someone being a dick online. That's all I know about you. Your posts are thick with butthurt. I see you found the white balance button by the second video, so you're learning. And that's a good thing.

I wouldn't go that far, I've used a TON of UW housings and most share very similar characteristics. The two in question look similar but are definitely not identical.

why would one compare a ~$60,000 camera to one that's 1/4 of it's value? Those two cameras market to different users with different needs.

depending on where you'll be in northern Norway, it actually isn't that bad. I spend a few weeks nearly every year near Tromso from February to March, the temperature is typically hovering around freezing, and sometimes it even rains. I've seen temps in in the low 40s (that's of course Fahrenheit, maybe 5-7 C?) during the day, but that's not average. The 20-30 they gave you is pretty accurate, but it nearly always warms up a bit and doesn't stay there. I've used every kind of camera and electronics you could imagine and never had a problem. No electronics problems, (Mechanical things tend to stick sometimes) unless the aforementioned rain kicks in. The Gulf Stream tends to warm up the coast line quite a bit, at least relative to the inland areas. Hardly anyone lives there though.

I see a lot of these posts. Personally I have several stabilizers, from a Merlin to a full sized rig. To be entirely honest the smaller rigs (Merlin) weren't designed for the DSLRs everyone (Including myself) puts on them. Granted a 7D with a 30mm lens isn't THAT heavy, but it's still near the maximum useful range of a Merlin. The guy who asked about the 1D Mark IV with 24-70mm lens has definitely maxed the Merlin's usefulness. I know because I've done it myself. In addition, the arm/Merlin combo is not a useful product to me. Someone operating a smaller camera would be much better off using the Pilot sled than a Merlin. I just don't think the design of it works well with an arm. The Merlin is a great product... For completely handheld work. I'm of the opinion that once the weight range requires an arm to help offset the weight, just go with one of those setups, not the hybrid Merlin setup. Just my opinion and it probably doesn't help much, but I'm afraid you may be asking for something that just isn't going to happen with your current equipment list.

Why not just go analog to analog which I am sure is compatible with your rig? It's standard NTSC out of the mini port, but you need the Canon cable that should have come with the camera. I say that based on assuming your Provid doesn't have SD/HDSDI capability. So in essence I'm saying the digital to analog conversion out of the HDMI port isn't useful to you, you won't gain anything.

My solution is twofold. Industrial Metal Supply and Emachineshop. Sometimes my cousin the machinist fills in. Something as simple as a cage like that is very easy to design/make.

that one works fine with the Flyer, the sleeves and white text are removable which brings it to just under the weight limit.

it isn't true art without finger smudges on the lens.

well it certainly looks familiar

While the HDMI connector itself is a terrible option as far as connectors are concerned, there are entirely too many cameras out there that send relatively uncompressed video through this port to ignore it. Since most if not all of these cameras natively record to compressions of epic proportions such as AVCHD and HDV, trying to work with the HDMI signal is absolutely worth the trouble in my opinion. There may not be a standard, but the signal is always much cleaner, richer and with noticeably less artifacting. I don't include HDSLR cameras in that, but there's a possibility that may change in the near future.

I got one a few weeks ago. Far and away my biggest problem isn't with Blackmagic, rather it's the data coming out of the HDMI ports on various cameras. Bottom line, you never know what you're gonna get. It works with some cameras, still others only export 1080i through HDMI but 1080p to internal media. Other cameras export a shitty, probably intentionally downgraded signal... Jagged edges and whatnot. And then there's a couple that just don't work at all with the Blackmagic. SDI is absolutely the best option.

People who'd rather use a PC? I know they say other codecs will be supported in the future, but I'm fed up with Final Cut/Apple. This coming from a guy who owns 4 Macs, 2 iPods and an iPad. Supporting only ProRes means that those who don't want to use a Mac have to jump through hoops to use this codec in their workflow. Apple has made it a habit of late to not work well with others, and I hope it's sooner rather than later when it bites them in the ass.

wh... Oh. nevermind