Maxwel Fisher

Had to send it to Greg for repairs. 20 year old capacitors dried out.

Hi All! Just acquired a TB6 monitor second hand which I'm incredibly excited about! I'm trying to troubleshoot a small issue that after talking to Greg might have something to do with the 8pin - 8pin Lemo cables I have. The monitor as I understand was serviced prior to purchase. I have the BNC switch in the 75 ohm (Terminated) position. The 8pin I'm using for power out of the LEH of a Pro Cinema HD is the same one I've been using for power in my Transvideo (through the accs. port). Channel 1 and 2 show the normal no video message (I have not yet been able to get a camera to test vi

Alec, Makes sense to me. I finally got one, second hand, so I was curious if this had ever panned out.

Curious if Greg actually manufactured a TB6 that is HD-SDI compatible or is it still in the works? Looking at the website it seems like it's still just analogue and everyone is down converting externally.

Following off Chris's response, On film the aspect is not 1.33:1 (4x3) but about 1.2:1 to start. They anamorphic aperture on the film camera is actually taller than the Academy aperture. There’s very little cropping. But on 4K HD the math works out like this: 4K equals how many pixels. At what aspect? (Depends on the camera) Then figure out how many pixels there be at half of 2.1:1 which would be 1.05. Anamorphic of course it doesn’t add resolution it’s an analog compression scheme so whatever your sensor would be if you crop it to ratio of 1.05 would be the resolution of anamorphic

I couldn't agree more with this sentiment. My bringing up the arm post length over extending the post was mostly because we're taught to keep the gimbal CG as close to the camera as possible. Of course that's not always the case as you explained above.

Katerina, Would it not be more efficient to use a longer arm post rather than lengthening the entire sled to achieve a specific lens height? At least when operating in high mode. In low mode, I would agree with lengthening the sled.

Hey Kes, If you dig through the Case/Carts/Stands and Transport section of the forum, you'll find a lot of photos from other members of their custom case setups for all different rigs. Here is an example of a thread that might help: Pro Cine setup

Curious to know what other operators are using for a monitor yoke? The most obvious to me is the one supplied by Cam-Jam. Currently, I'm flying a Transvideo Cinemonitor HD 8" off the spud on a Pro sled with the telescoping monitor arms (I also have the fixed drop). It's worked for me for a long time, but I like that a yoke allows for monitor adjustment without having to rebalance the sled. Thanks in advance!