Maxwel Fisher

Hi Nikita, You must become a "sustaining member" in order to post in the marketplace. There is usually a banner link that takes you to a paypal page. It's a $50 (I think it's $50) one time payment and then the forum is your oyster. I'm trying to find the link to post for you here.

I love watching this vest circulate the marketplace. I know the original owner (coincidentally we have an almost identical name). Good luck with the sale!

Looking for XCS monitor rods. I have the clamp, but am searching for rods. Straight or drop down. Thought I could get my Pro monitor arm to work, but nah. Unless someone knows a magic trick.

Sold

Sale Pending

Hey John, here is a link to a couple videos showing a comparison of the Titan and G-70x done by @chris fawcett. https://www.youtube.com/watch?v=EQiw7b1U8GI https://www.youtube.com/watch?v=c1Jgtq0lrtU In theory, they all perform the same way; taking the weight of the rig and isolating your movements from the rig while suspended. I would say the big difference is how the arms are adjusted. Personally, I like the titan arm. It's what I own and what I've gotten comfortable with. I can "tune" it quickly both under load and with the rid docked. The G-70(x) as I understand it has to be adjusted under load. There are also two separate adjustments, one for load and one for ride. I don't know enough about the arm to go into detail. My fifteen minutes of experimenting with the arm on a friends rig made me appreciate the titan arm more (again, my personal experience). I don't know anything about the X-Arm. Here is a video of how the adjustments work on the G-70(x). https://www.youtube.com/watch?v=nON4kRCEzyg If I have any gripe about the Titan arm, it's the way it has to be adjusted with an Allen wrench. I do appreciate the ease of adjustment on the G-70(x).

Pro docking bracket with two rings and dynamic balance bar. $350/obo Second photo is only to show how the bar works for dynamic balance. Sale does not include arm post or mount.

Sean, you are so welcome. I bought my rig from a retired steadicam operator a few years back and it has served me well. No issues whatsoever. He did a great job maintaining his gear and as part of the purchase, he had the gimbal serviced before I took ownership, mostly because he was concerned about some play in the handle and yoke. You'll find that with the cost of gear, operators do a pretty good job of maintaining it. Some companies, like XCS (Owned by Greg Bubb) have an incredibly extensive record of any piece of gear ever sold that has a serial number on it. For example, I bought a used TB6 and he was able to tell me its build date, how many hands it has passed through and when it was serviced. Additionally, I'd say everyone here is pretty honorable when it comes to selling used gear too, considering how small the community is. Some might even be comfortable with setting up payment plans. XCS and Pro build their rigs to be modular. I believe Betz does as well. Can't speak on the others. There are some cross compatible components for each (While I have a Pro rig. My gimbal and post are both made by XCS). Every rig and manufacture has their pros and cons and every operator chooses their rig based on price and personal preference. Taking classes is going to be a good way to get an idea of what you want. Also talking to other operators and trying other rigs. I see you're in So Cal based on you avatar. See if there are operators in the area who will let you try their rigs. That will also help you decide on the vest and the arm. Personally, I absolutely love my rig. That said, I also a little have XCS envy. I like the pro vest, it's lightweight and fits like a glove. I do find that I use my Klassen vest more often as the way it distributes weight is better for MY body. I wouldn't worry too much about have a wireless FIZ in your kit just yet, but Preston I think is still considered industry standard. Arri's WCU-4 though is awfully neat. Start by exploring the websites for each company and don't be afraid to reach out to them to ask questions. Then check around in your area to see if there are local operators to connect with. You'll also find A LOT of information within the forums if you continue to go digging. Best of luck!

Hey Sean, I'm sure others will far more knowledge will weigh in here, but if you're adamant about going new, given your budget, you should start by looking at Tiffen's Steadicam line (I personally fly an old GPI Pro Cinema HD rig so I don't know much about Tiffen's rigs). A big factor in how heavy a build you can fly will depend on the arm. You might consider going new on the rig and vest and find a used arm with a high payload support. Six to nine batteries is probably a good place to start. Depending on what you end up flying (some rigs use two batteries on the lower electronics, others three), that will give you three rotations or four and a half rotations on batteries. Remember too that most projects will rent batteries from a gear house along with the camera package. "Professional" is a subjective term. Some think professional is Panavision, some Arri, others Red and all three have different weights. Hope this helps.

Hey Yousheng, Just a heads up, unless I'm mistaken, it looks like your iBaird bracket is missing the two mounting pins that insert into the front spar on the pro vest.

Low mode grip sold Asking $3600

Would prefer selling everything together, but can go a la carte.

iPhone SE here from 1990. Just download the file through the forum and choose to open it in downloads.

After upgrading to an XCS gimbal, I held onto this thinking I might have it retrofitted with the volt. I've since decided I want to go the way of the Wave. For sale is a Pro gimbal formerly flown by George Pattison. I believe it was last serviced in 2017, before I took ownership of the rig. Included in the sale is the gimbal with long handle, the long and short gimbal grips and the pro gimbal tool. Asking $3800 which includes shipping (if domestic) and shipping insurance.

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 video feed). However Channel 3s grey scale pattern displays heavily distorted. The jumper block currently installed shares C/M power on the bottom back with accessory power being just above. No power is being fed to the battery position directly under the monitor. I'm going to try changing the jumper block, but still feel like after doing what Greg suggested, it might be the way the 8pin is wired....any other suggestions?

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. When you expand it out and effectively double the horizontal pixels it’s still just doubling pixel so you’re not actually gaining resolution there are more pixels but there’s no more information in those pixel.

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!