Mitch Gross

I'd be more worried about not telling the DP or the Producer, as they might have a rather harsh reaction when watching the dailies as they discover that the top third of the frame was soft because the lens was sagging in the mount! Probably not a major concern, but the PL mount is theoretically going through a lot more torque and inertial force flying on a rig then sitting aroun on a tripod or dolly. Of course the whole point of the Steadicam s to reduce such forces on the camera... Anyway, I've seen mounts pulled out of whack by heavy lenses left unsupported, so this is something one should think about for long term jobs. The Elite anamorphics have lens supports way out in front and Alec Jarnagin was going to operate a feature I was to DP (it still hasn't happened) where we were going to have the rental house machine something custom for the rig. If only for me to sleep better each night.

The Astro in different generations has been around for a few years and is very commonly supplied with HD packages. I've used this and other models in the past. It's lousy in brightness, NITS and off-axis viewing. I often can't see the screen at all unless I mash my head directly up inside the hood. The new Panasonic 8.4" screen seriously outperforms it and is less expensive, but I still wouldn't reccomend that for exterior use.

I'm looking at that heavy anamorphic with a lens support floating underneath it and it doesn't look like it's connected to the rods at all. I wonder if one could even fit a modified dogbone in there without some custom machining. I'm a firm believer that if a lens comes with a lens support then it needs to be supported. Any issues or solutions here?

G&G Technologies is supposed to be good. I have not done business with them but know others who have.

Wolf Seeberg makes whip antennas for select frequency ranges (30-below, 30-50, 50-up) for $50 each and they're great.

I've been meaning to attach a little screw-on door to cover the channel selectors on my Modulus. Now I have a real incentive.

They came out with it late last year. For the small DV cameras they are the Mini35 adapters, which is a world away from the Pro35 2/3" video adapters. The ground glass is much, much finer on the Pro35.

If you stick with the NP-1 type batts, check out Switronix. 60w 14.4 Lion bricks for only $160 each.

I was told it was a new product, perhaps a major upgrade of the old model.

Jeff is referring to the P+S Technik adapter system which is a lens relay with a groundglass inside. You mount a 35mm format PL lens on the front and it projects an image onto the internal groundglass. Then the video cameras standard lens rephotographs it. Works surprisingly well and gives the field of view and depth of field of standard 35mm photography. The groundglass is actually spinning in there on an eccentric mount, but it's right near the center of gravity and the motion is very small so you won't feel any gyroscopic motion even with neutral float. The rig comes with front rods for mounting focus motors, etc. You'd be rather surprised at the quality of the images, but the adapter costs more than three times as much as the camera!

Apparently there was yet another manufacturer that introduced a low-cost stabilizer. Looks like a two-bone arm but it's hard to see much on the website. http://www.cammate.com/steady_shot.cfm

That's the standard 1080p HD "mag." Soon to be followed by the inevitable "but what if I want a 111-minute shot?" Amazing bit of technology there. It's iPod drives inside that thing!

Duh, and I met her last year. Shows what happens when I write in late at night after calming the baby.

I saw the picture of Garrett & Kelly in Tim's NAB report and thought that this looked just like GB's original prototype Mini arm that I saw at the workshop. Slightly beefier looking but that may just be the shell. I'm wondering what the specs are. So much for Hollywood Lite having the only semi-useable 2-bone inexpensive arm out there. Looks great for the little cameras.

So now that we've heard a bit on the V35, how about the new Steadicam Flyer?

Yes, but in my youth I was accussed of being a "Master Baker." I make great muffins. :o

I feel like I should book a flight to LA in June just to witness this historic occassion. And they said only Nixon could go to China...

The Panasonic Varicam uses HD-SDI output and the Sony uses three cable HD component output (YsubRsubB). Converter boxes are available to switch either.

And a good way to power an LCD teleprompter as well.

Yes, does John even know that this conversation has been taking place?

There is no better way to spend money that on a workshop course. That vest is probably fine once you learn how to properly adjust it. The screen brightness can likely be worked around. And anything else you can think of likely pales compared to the wisdom and experience you'll gain from a week of intense education. I could hand you $100,000 of the finest brand new gear right now or your old rig after a workshop and you'd definitely be much better after the workshop. Also at the workshop they'll teach you how to deal with what you consider to be issues with your current rig. This is a no-contest question in my mind.

I would use the standard 4-pin Hirose to XLR to power the light because in a pince you can use this to power the camera as well if you so choose. But in reality, I wouldn't do either if I could avoid it. I would power just the monitor (plus transmitter, remote focus and whatever other accessories) off of the sled and power both the camera and the light upon it from the camera battery. When I suggested powering the light off the A/B battery plate, I was refering to the one one the back of the camera, not on the bottom of the sled. Even if your camera does not have an A/B plate it likely still has the 2-pin jack for powering lights. This is how most people power lights when shooting handheld. That light is a pretty high drain for your sled batteries. Better not to torture your sled bricks and instead do so to the camera's bricks. This also prevents dragging high power loads through your sled circuitry and instead sucks it straight out of a battery for max efficiency and least possible wear.

What camera are you using and what type of batteries? Anton/Bauer and some of the other mounts have a 2-pin "D"-shaped PowerTap that draws directly from the camera battery. I would try to power this way instead of from the sled if possible. This is the standard way of powering on-camera lights. Most pro cameras also have a 4-pin Hirose 12v out similar to the one on your sled. But the one on the camera is meant to power small devices such as a wireless mike receiver, so don't try to power your light from it or you'll burn something out (expensive repair). Also to note, Frezzi makes various adapter cables for pretty cheap. But the advantage of using Fred instead of going to Frezzi is that he can make it to an exact custom length and uses the highest quality components.

That light usually takes a 50w bulb, which means it's drawing just over 4 amps at 12v. That more than most video cameras which are generally more like 25-35w, but around the same as a Sony F900. The connector should be able to handle it as long as your batteries and sled can. But how are you powering the camera? Fred Davis can cetainly make you this cable to whatever length you'd like.

You are encouraged to so that you get to know your individual gear all the better.