Daniel Stilling DFF

I would really like to know about the new voltage capability. If this was addressed, it needs to be extended to all early customers.

Excellent work. Honestly I don't think there's any stabilization in there.

My trusty Cube needs to go to a new home.

http://www.ebay.com/itm/Teradek-Cube-HD-SDI-Encoder-HDMI-Decoder-Steadicam-Red-Epic-One-Scarlet-F3-/221179867399?_trksid=p5197.m1992&_trkparms=aid%3D111000%26algo%3DREC.CURRENT%26ao%3D1%26asc%3D14%26meid%3D5228582242888054834%26pid%3D100015%26prg%3D1006%26rk%3D1%26sd%3D221179867399%26

You can use a down converter (Decimator, Black Magic or Atomos Connect) and get a composite signal that your sled should be able to deal with.

You can power those down converters assuming you have a battery plate on the back of the camera that's either V mount or Anton Bauer, from the Ptap connector.

Alternatively you can get a long (4ft) monitor cable from RED and attach the touchscreen on the bottom of your sled, and just run the cable externally. This will work best indoors, as the touchscreen is not amazing out in the sun.

If you get a regular HDSDI monitor, make sure it's daylight viewable. You will probably need an external cable as your sled most likely wont be able to support and SDI signal going through it.

Bumpiddy

Even with the misspelled tittle, it sold rather quickly!

SOLD!

Selling this for and AC friend of mine:

http://www.ebay.com/itm/221176635936?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649

Plates are going... Added some other parts...

You can get a battery plate from Teradek to power the receiver. Or you can use a swit battery that has a 2.1mm barrel female power out, and get the cable to power it as well. Many options.

Doing some winter cleaning. Found a case with some extra hardware that I'm not needing:

http://www.ebay.com/sch/steadidane/m.html?item=221175534931&ssPageName=STRK%3AMESELX%3AIT&rt=nc&_trksid=p2047675.l2562

Thanx Philip!

Any recommendations for Jersey?

Did anyone notice that this is all to address a question that's almost 4 years old?

Either Sean has gotten it by now, or he went on to greener pastures.

Eric, please feel free to voice your opinions, but please refrain from stating them as unbendeable rules, ohh, and take care of your laundry of this forum, it's pretty ugly...

Any of you Newyorkians know of a decent, not overly expensive studio with a cyc that can be used for a green screen shoot.

Needs to be large enough for a 3 people sit down shoot.

Anywhere in the Tri-State area, but not too far from the city would work.

Thanx guys!

I bought one, but really haven't had time to use it enough to have a clear picture of the Bolt's capabilities/shortcomings.

IMHO, I don't see an issue having a battery in the unit. We were used to transmitters without batteries, so if we treat it the same way, running the internal battery down wouldn't be an issue.

The BIG issue here is not working right with a hot of the charger AB. That's a big deal that introduces all the problems mentioned above. Since it only powers the unit for about an hour, you cannot rely on it, and having it "masking" the issue with the hot battery is a problem.

If they can fix the hot battery issue, I think it will be a very good tool.

I like it. The only thing is that I think your weakest shots are in the very beginning. I did not like a few of the "elderly with the finger" shots. In particular the one with the lady that dropped her bag in front of the building. I felt that framing was not right. Plus it beeig a very negative message right on top of the reel...

The rest of the reel is really good. My favorite shot is of the kid climbing the tree. There's just something very symbolic about it...

When I started, I was a staffer in a TV station in Copenhagen in the mid 90's

I convinced them to buy a used V16 Glidecam with the green screen they had back then.

I modified the rig as much as I could to make it workable, and off I went practicing. When I couldn't get it on shoots for the station, I went down to the studio in my idle time and practiced, practiced, practiced.

It was until a few years later I was able to get a loan and fly to LA and buy my first rig, a nice 3A with a 2 arm and vest and a top of the line Seitz wireless focus.

After I acclimated to my rig, I started going freelance, and by then I felt I could pull of decent shots.

My rates then weren't much lower than the established operators, as I felt that I wasn't "learning on the job"

It worked out pretty well, and shortly after ended up moving to LA and was able to get on decent shows with decent rates and was able to not piss of too many of the established operators, that in turn helped me out throwing jobs my way (Thx Dan, Rich and others...)when they weren't available.

I think that Steadicam takes a lot of investment. Not only financial, but of your time as well. Time to get good, so you don't have to start in the lowest rungs.

There are many ways to go by it, everyone has a different story. This is just the way I did it. Above all, practice, know your worth and try to not step on too many toes in the process...

Hey Richard!

It's good. From my testing performs exactly the same as the Paralinx.

Great outside, reduced but enough range inside, through walls.

RF can be tough, and these new systems are a breath of fresh air compared to the 1st gen of Wireless HD.

I myself am sick and tired of rudeness in any aspect of life. Internet or on set. In traffic or with friends. Telling someone to shut up is just being rude as well, and I try my best to not be that guy. Besides you know that telling someone to piss off will never work, will only bring them back with a vengeance, perpetuating the cycle.

You can be honest in many ways. Polite is also available :)

Since you've not used film cameras before, there's a few things you need to prepare yourself for:

The XL2 is a nice payload. Good combination of not too heavy and enough mass. Different from digital, you will have film displacement. On this camera you won't feel much, as the film moves on the vertical axis, but you will feel a little difference between the beginning and the end of the mag.

Try to talk them out of using short ends. Different weight on every roll.

Now, I haven't seen a film camera for the last 3 years, so if Panavision hasn't updated the video system, you'll need an up converter, or an NTSC monitor, capable of showing composite video, in case your monitor can't.

The power cable for the XL2 and the older cameras, like the G2 are different. Make sure you have the right one, and even if the package comes with a 3 pin XLR power cabl3 for 24v's it's wired opposite than the industry standard. At least it was half a decade ago...

Have fun!

Pretty much brand new, used only once:

http://www.ebay.com/itm/221164449983?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649

The cube has a latency long enough to make it really challenging, if not impossible, to pull focus from.

I'd go with the Bolt or the Paralinx Arrow.

I have always been a bit of a wireless nut.

I have owned most wireless systems ever in existence. I now own a Paralinx Arrow, a Teradek Cube, a Bolt and 2 consumer grade HDMI transmitters.

The biggest variable between all these systems is power handling and video connection types. Surprisingly the wireless connection is quite similar. (With the Cube being the only exception)

The Cube has its uses. When used in conjunction with a receiver, to a village monitor, it's not the best choice.

But when used simply with an iPad, it has become a big hit with some of my clients.

The other wireless systems, once working and attached to a monitor work very similarly, but some of them are very finicky when it comes to powering. Actually all of them, except for the bolt.

I'm still in early stages, so I haven't got a clear picture (pardon the pun) of what works best where. As Charles pointed out, it's a bit more complex than just observing the differences once or twice.

On a side note, I just did a live show, where I was shooting from up on the stage and from bellow, in front of it. I used a Boxx Meridian with the high gain antennas placed on the back of the stage. Every time I went too close to the stage and the wall in front of the stage blocked line of sight, the signal would break up...

I got my Klassen eons ago, and I never looked back. Actually I just had to look back: I sent it in for refurbishment after almost 10 years, and I had a few jobs that I had to do with a front mounted one.

It was so different, so less precise IMHO, and a lot more fatigue.

The Klassen just frees my upper body and allows me to control the rig without any strain.

I have the original arm that comes from the back on a 90 degree angle and makes your footprint a little larger. But I really haven't had many issues with that but in the tightest spaces.

I guess you could always get the low profile curved arm and solve that issue.

As far as I can remember there wasn't really any learning curve, just a different feel from what I was used to, and that went away in no time.

I really believe that the Klassen has increased my careers lifespan, and in the spirit of thanksgiving, I'm thankful for that :)

There's a Lisigav joke in there somewhere...

RR has really alienated a lot of folks by promises and lack of fulfillment.

The system does look interesting, but my bet goes to the Bartech and the BDR. Solid, trusty and with easy to find guys that made them and will answer the phone to talk to you if there's any issue.

I have had AC's that previously turned their noses at the BFD, but with the BDR they really have no issues or complaints. They end up loving it as the hand unit is fairly light compared with others.