Thomas English

This file is interesting with regards to batteries on various arlines.

http://www.kftv.com/files/lib/ckfinder/userfiles/files/Guidance%20on%20Transporting%20Lithium-ion%20Batteries%20-%20November%202013%201-16%20part%201.pdf

38kg! It is good to keep every individual case under 22.5kg for costs on airlines and your carrying on a hangover. 36kg is the limit on some airlines for larger bags. I am sure you could lose 2kg from that case.

Nice design. I prefer two cases and two assistants and an ice cream.

THANKS CHRIS! GOOD NEWS!

Sorry to be a big dummy. Is this issue related to the gen2 monitor or the gen1? I've had my gen2 for 2 months, I've used it on 3 different types of Alexa, a few Epics and a Black Magic Pocket camera (which is HDMI out). I havn't had any issues of any kind?

With the Epic I understand the issues only really come up in Europe at 25p. I think it is all fine at 24p. With the Alexa your doing the correct thing and changing the PSF setting on camera output.

You need two unused wires down the post carrying the data.

Interesting that you say the XCS isn't pre-loaded but just has a tiny clip and really is fine. I think with the weight on that movement won't happen in a "bad" way.

With the Omega in its final form those two wires will be only to drive the motorized monitor. Incidently I have done a lot of shots with a cable running the outside of my rig on the AR. Video cable.

So decimator 2 on the back of the Cinetronic and HDMI into the Cinetronic?

Nice work Jens

All kind of makes me wonder why I even put any effort into this... Guess the indication is there that I shouldnt put any more in...

This is a little worrying. Are we to take it your considering discontinuing and withdrawing support for the monitor?

This was an expensive monitor. I do hope that software updates will enable it to read a PSF and some RED EPIC signals as the monitor was originally intended and sold for. It is a great monitor otherwise but currently to my purposes only in standard def using a redbyte downconverter.

There is no doubt we all took a leap of faith and trust giving you money long before the monitor was finished and ready. Clearly you guys have worked incredibly hard to try to make this work. It would be gutting if all that work and money till now was to waste.

Please continue: As you say; Rome was not built in a day.

Go to the back of the 17inch monitor on set and try the same thing. You'll see the same issue.

The Transvideo case screening is the best there is out of all the HD monitors on the market. It is nothing to do with the monitor itself but with the screenings on the cables from Epic to Monitor.

What sled and post do you have? On some sleds the screening at the junction box's isn't to standard and does drop the picture out. I have had this problem before in the past. Also you say your cables are standard? A lot of standard film industry cables are NOT HD rated cables. I recently swapped all mine out although not for this issue but rather for issues of the HD link sometimes dropping out. Incidently the Epic's signal out the camera isn't the strongest and cleanest so it does need the best cables.

I burn tested my Mk-V with HD6 and Cinetronic on the other day with a radio and did not get this problem.

This is only really an issue though if its the AD's walkie talkie 5ft away. If you are only getting this problem when your AC is 2 ft away.. tell him not to be 2ft away during a take! Whats he doing so close to you anyway?

Finally we can turn up on set hung-over like everyone else gets to.

This kinda stuff is only remotely measurable if our subject is under 10ft away and far more critical if we are in the 1ft or 2ft range.

Fair point Joe and to Janice is right that we should be completely up to date on the subject.

Janice is wrong, I don't want to waste days working with a Movi when I could be on a proper job working Steadicam/wheels/sticks and other kit that works reliably.

I don't want to be associated with a bit of kit that doesn't actually work within the on-set constraints 90% of the time. It's all well and good people showing these 10% of shots that look incredible but the 90% of the time when the DoP is glancing over still waiting for a camera after 20 minutes I don't want to be the face in the firing line.

Your argument works for operators and technicians that are new to the industry and are trying to make a name in sub-budget jobs but this is a professional forum . Its commercial suicide for an established operator to associate oneself with this piece of kit as it currently stands. The Movi will not be around in any volume in 18 months. It might return in 3 to 4 years and that is a different conversation for a different time and tech.

For now its a new piece of kit that doesn't work trying to compete for shots in a VERY CONSERVATIVE industry. If anyone thinks that reliability, speed and conservativism aren't the hallmarks of success in this industry they simply haven't made any meaningful money in this industry. We hide behind new toys, new gadgets and innovations only to slightly improve how we have shot shots for 50 years.

If people think these pieces of kit are just bits you can have on standby in the truck to get a bit of rental on they are naively misinformed as to the nature of bleeding edge innovative bits of junk. The nature of a bit of kit like this is CONSTANT maintenance and customization. This isn't a preston that can be pulled out of a case or an easy rig you can get a quick £70 on. This is a super finicky stabilized head. There will be 10% of people out there able to deliver good shots with their heavily customized and perfected setups and good luck to those people that are going to dedicate their time and money on this endeavour. For myself an most working proffesionals the effort to return ratio is CURRENTLY right out of whack.

Most of us didn't buy DSLR's. In fact hardly any working Steadicam Operators bought a DSLR to offer to production. Plenty of DoP's did and regretted it because they got bogged down delivering DSLR look. They got left behind when things changed again.

We peddle reliability, speed and what was in the script. We should stick to that. When the Movi becomes reliable we will peddle it. Not for a few years. Granted we should keep an eye on it.

Granted as a non-professional experimental tool it would be fun to play with. I have been wanting to test it with Planetarium fulldome camera setups and seemingly it solves some of the issues we have had there. I have access to a Movi and start testing next month on a job BUT this isn't a professional bottom line endeavour.

Pioneers get arrows and settlers get land.

Who are you Kinetics? It is a real names only forum.

Can anyone identify what that base is? Looks like a modified mod3. Interesting sled.

Thomas

I've gone through 5 decimators in 4 years. Try swapping that out first.

So the PRO Gimble is not loaded whilst the MK-V and XCS Gimbles are PreLoaded. This does mean that there is a clunk when you turn the PRO gimble upside sown.

The question is.. will it matter. So I am going to try it out. For now though its safe to assume that the best sled to use the AR on is the MK-V one especially with its custom made long gimble handle.

Incidently I don't know if the BaerBell, Betzor Satchler gimbles are preloaded.

I tested an old 3a style gimble from MK-V and I remember that being preloaded. So you might just be able to swap your gimbles out. Again though. Them gimble handles where quite short. I guess MK-V can make 1.5in Gimbles with long handles for PRO users in the future.

Yeah you can use it on any sled, that's the general idea. Speak to ash at Mkv for more.

Currently people are using on xcs which is 2in post and gimble. I'll be testing it soon on the pro.

When it comes to the actual electronics and omega brain. Wonderful! Works an absolute treat. Lots more functionality and the things I didn't like about the previous version have been more than fixed.

Ash at Mkv is a top bloke. The service is very good. Everyone has been going on about this.

Are you using the battery on the back of your hd6? There is unfortunately an offset. Do you have a photo of your balanced setup?

Thanks for that Kyle,

Yes it is important to keep note that some of the results from this thing are stunning. I am not worried about Steadicam rates. What is for certain is that there are X number of newbies coming into the industry often from other industries or straight out of films school. These people and their capital investment are the driving force behind the rates driving down as they are the most likely to do a deal. I am going to argue that a lot of these people are going to spend their money and skill time on the Movi and not Steadicam but this will be far less than the shots required on the money. Steadicam rates will actually go up! Just as they go up when some idiot turns up on a big job and can't hold level on a normal Steadicam rig and production look like fools.

So we need the Movi.

Siri Bunford directed.

http://www.thefoxisblack.com/2013/12/12/siri-bunford-takes-us-behind-the-scenes-of-stanley-kubricks-the-shining-in-this-clever-commercial/

Anyone ever tried putting a Satchler post and gimble onto a PRO sled? I heard it works

I have this 2k nit 6 inch monitor now and have to say its fantastic. Really amazing. The inbuilt bubble is great and it works in HD with all the cameras. I work it tabled (as standard from Transvideo) but a lot of people reverse the Matrix. I have finally got rid of my downconverter off my main Sled.

"Might I pick one up to have in my kit for certain shots.... Perhaps but having it or not having it will not make or break me."

There is kit you want to get straight out of the starting gate so you can maximise profits and there is other kit you want to let roll for a good few years to see if it works and takes off in popularity. I think the Movi falls into the latter. There is definitely a demand for lightweight stabilised heads you could handhold etc.

I've done 2 jobs now where I have been called at midday. Can you come to set, the Movi's not working. Getting there I am amazed they even considered a Movi as it seemed wholely unsuitable for the job as it was just a lot of tracking shots on super long lenses.

The great question regarding the Movi is, will there ever be enough power from the motors and gearing to compensate for dropping an ND filter or a Mattbox and Cinetape being put back on differently and longer lenses. With an eye on the Physics involved I am currently concluding that the Movi won't ever be used on jobs with glass NDs and Cinetapes because of the shear rebalance time due to the weak motors and gearing. In this HD world I find I rarely do a job where focus puller doesn't have or has insisted on a cinetape because if this isn't the case its a low-budget job.

Off course in-camera ND's are coming out and Cinetape technology may change but to me it makes the Movi a flash in the pan for high end jobs for the next 18 months but another danger to my Steadicam Rentals in say 5 years.

How do you think this will compare to the Boxx HD system. Ignoring weight considerations. I am only thinking image quality and reconnection speed after breakup.

Who makes these?

Contact Ash these days rather than Howard

ash@mk-v.com