Claus Stuhlweissenburg

I was in the midst of getting my will together and my lawyer asked me what would happen to my gear in case of my demise. I know this subject was touched upon briefly when Chip Monk had passed but I was curious to know if anyone had taken any specific measures. I know my family would not have a clue as to the value of my gear or how each piece was to be used.

As far as I know I'm in perfect health and the main reason for my will besides the obvious is that the father of a friend had passed and had taken care of every detail in his will except for the Marine Corps memorabilia collection he had. It was always thought that my friend would get that but when the value of such a collection is worth over $200,000 a lot of family members came out of the woodwork. Bottom line is that his mother took possession of it and sold all of it for a fraction of what it was worth. Lesson learned.

What would the pitch be of a .50m gear?

Broke one of the plastic caps that fit on top of the screws for the socket block. Any idea who might carry them?

Keep in mind that some places do not allow you to use this configuration. IE: If your working outdoors in inclement weather. Its a safety issue wherein if there is a problem with your mini coax you run the risk of getting electrocuted. Regardless, the majority of us who work in video prefer the configuration that Lawrence described. Having a regular triax jumper in your kit, regardless of how cumbersome it might be, would be wise. I do recall there being a small flexible triax cable from Tiffen. Maybe Frank Rush or Peter Abraham could chime in and let us know if it is still available. As far as the triax to coax turnarounds are concerned do not purchase the ones form Markertek. Even though I like the company their turnarounds are not properly insulated. Kings sells the proper turnarounds.

PAL or NTSC?

Read the numerous posts regarding the various models of the Archos. Wondering if everyone who has used one is happy with it? If not why? Is the 605 any better and if you were disenchanted with Archos in general is there a better alternative? Any input is appreciated. Claus

Wondering if a hi-def signal will travel down a PRO post. I remember reading somewhere that it can't because the gauge of wire that carries that signal is not big enough and will only carry a video signal. Is this true or am I misinformed?

Besides the case that the MK-V Nexus Sled comes with has anyone found a case for this sled which doesn't require you to take it apart. I'm looking for a case that is not custom.

Broke a pin in the lemo connector of my MK-V post. Wondering who here in the states would be able to fix it.

Looking to purchase a used PRO battery module 2.

I'm looking for a set of 2 inch gears for my Heden M28vp. Heden won't return my e-mails and I tried ABEL Cinetec and they won't return my phone calls. Any help is much appreciated. Claus

Thanks for the extremely valuable responses. Much appreciated.

I was wondering if anyone has had any problems traveling with batteries as carry on luggage. I'm trying to reduce weight for my cases and thought if i took the battery and chargers as carry on that would help my dilemma. Any input is appreciated.

The one question that everyone seems to be avoiding is what happens if you have a problem with your new G50 or G70. Anyone who has any experience with the Master or 3A arm knows that if you want to get it fixed you send it to Rob Luna. You don't send it to Tiffen unless you don't neeed your arm for a few weeks. I'm not bashing the new arms from Tiffen. I'm sure that Jerry and Garret have come up with something that's truly amazing. But customer service is key and aside from Frank Rush being as attentive as always the guys from Tiffen couldn't find their ass if it had a bell on it. Unfortunatley I speak from experience. Nothing has changed since Cinema Products was bought byTiffen. What's to say that the future is going to be any different. CP/Tiffen should have cornered the steadicam makrket a long time ago. It's their customer service, or lack there of, that's kept them from doing that.

Has anyone used the moduls 3000 transmitter with the Transvideo Hermes receiver and if so how well did it work?

To my steadicam brethren,

For those of you who purchased a back mounted vest I was wondering how you went about choosing wether the vest was right for you or not. I know Ozzie from Miami rented a Klassen vest for a period of time before he decided to buy one. I know that others went to Klassens shop and tried a few. It seems to expensive a piece of equipment to purchase on blind faith and word of mouth. Just curious to see what the process was in choosing the vest. Any info as always is appreciated. Sincerely Claus

To my steadicam brethren,

For those of you who purchased a back mounted vest I was wondering how you went about choosing wether the vest was right for you or not. I know Ozzie from Miami rented a Klassen vest for a period of time before he decided to buy one. I know that others went to Klassens shop and tried a few. It seems to expensive a piece of equipment to purchase on blind faith and word of mouth. Just curious to see what the process was in choosing the vest. Any info as always is appreciated. Sincerely Claus

Looking to purchase a Pro Super Post. Figured i would try here before I lay out the money on a new one. You can reach me at steadiclaus@aol.com. Thanks Claus

Looking for some input as to who prefers which tuner and why. Right now I have a modulus 3000 transmitter and I was using a Sony clamshell which we all know is pretty lame. I'm looking at the Pegasus, Hermes and the Sony TU-1040 or the 1041. I've already inquired with a few other ops and my thanks goes to Alec, Chris and Erwin for their input. Just wanted a little more feedback before I laid out the cash. And yes I know I can go into the archives but I'd rather not tease myself and just cut to the chase. Thanks in advance. Claus

To my steadicam collegues,

Thanks for the kind words regarding the steadicam shot on The Letterman Show. The shot was done in low mode with an Ikegami HD camera and a Fuji 4.8 lens with a fish eye adaptor added to it. The shot was designed to look like their music video. It is one continuous shot until the boyz break onto the stage at which point there is a cut to a wide shot and I am no longer used. The shot was not pre-taped. The Letterman Show goes live to tape every day from 5:30 to 6:30 which explains the daylight. Obviously if there was some major problem they would have done it over again however this would not have made Dave happy. I was hard wired into the studio which means I had 4 guys helping me with my cable. They did a great job. Lastly, they had an army of audio guys out there carrying RF equipment to make sure the boyz could hear their music and we could hear them. They did not lip synch that song. Once again thanks for the kind words. Sincerely Claus