Hervé Colosio

I am using Transvideo's Virtual Horizon 2 in a 8 inch CineMonitorHD eSBL with real time movment compensation and shock filtering , it is amazing because the movements of the level are fluid like a liquid bubble but with the very usefull on screen reads . shock and accélération compensation let you have a very quick response leveler without the problems of a bubble trembling. In hard mount configuration it’s absolutely necessary.

i've see that Transvideo introduced during IBC a new 9 axis wireless version, I'll try it as soon I can and tell you about it just right here :)

I can tell about my experience using the transvideo cinemonitor sbl 6 and 8 under the rain and with salt water near me and not one time , many times, many years. i made lot of live work and sometimes the rain comes from nowhere and put you like in a shower in 5 minutes. i have never had problems with this monitor , i was afraid , because you are in live , and you can do absolutely nothing , just pray but the transvideo cinemonitor never let me down.

when i know it's going to rain , i use plastic kitchen film and gaffer but not on the glass of the monitor , i let the glass free , absolutely no water comes inside, the glass is absolutely waterproof.

i've use it also near salt water many times and the problem was not with the monitor but with the G50 arm :blink: as the big screws/bolts have rust all over the arm. the transvideos monitors got stainless screws :)

herve

I just tested this new horizon in Transvideo in an 8-inch, :)

I have not seen anything equivalent before that. With reading and perfect fluidity,

Removing micro parasite moves and inertia variations without affecting the quality of the horizon is impressive. It is fully customizable including the type of bubble desired.

Contrary to what many see on the forum, this is not the race to the cheapest monitor, it is the race for the best monitor in the world.

i watch to post a video of this soon , but if you can test it somewhere, try it ! because it is an evidence when used, but not obvious to see on a video of use.

Looking for a sachtler artemis efp pro or cine hd complete or sled only .

Hi Hervé,

 

How about camera controls (colors, iris,...) on multicamera shows? Don't know about France, but over here these settings get tweaked constantly by the vision/tech department. With the TitanHD, I would think you can't control the camera. Or would you use the RS323 data signal for that? With most OB facilities providers heavily invested in wireless Thomsons and Dcams, I don't see how the Titan (with it's lack of camera control) would be a match...? I'm sure it's great for single cam stuff, don't see the point in using it for OB/multicamera.

 

Would love to hear your thoughts.

 

Best,

Sven

at this time you are right , the camera is not controled by vision tech , but i know that transvideo guys are working to make it possible in first for the lens iris on fuji,canon and angenieux lens thats why you have a rs232 on the TX and the data are in two way in/out on RX/TX.

what we do now , we match the camera with the others before the show, and we work iris and focus with RF. but you cant ask to do the same things on a 9K€ system as another one at 10 or 20x more price. all the TV do not have CNN budget, you know what i mean.

for me, at this price i do not know another system that can do the same quality job.

i've try other setup for SNRTrdoff to see what appen , but i think you can see realy what appen when you are at the limits near when the signal shut down . after 50 meters for me.

this setting make a ratio between details and noise (if there is some)

for what i have seen when you stay in the safty area , this setting dos not change the aspect of the picture. In the middle, level 1 is good for me.

i want to try the multiple receivers joined with one TX option. it will be very interesting for me.

ps : ask jacques to put a locked horizon in the RX , then the directors will be happy all the times :D

hi chris and all.

i just want to tell you my experience with the titan hd , i use the titan HD for 3 months now and i make steadicam live TV work with it.

the link was extremly robust if you stay in a safe area of 50 meters with normal antennas around the receiver. You can get more distance with other antenas i think. i've made 11 TV shows at this time with the titan HD, sport, music and news events and the titan have never break the link, the picture was absolutly exellent.

there is no delay , i've use it in multi camera setup the lip sync was the same as the câble camera. it's very important to trust in your setup when you do live TV work , small cracks in the picture are not allowed.

this is absolutly perfect for me.

The Transvideo Cinemonitor HD 8¨is re-listed on Ebay at a reduced price $5100

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=170348810410

the rainbow II are sold.

the cinemonitor HD 8¨ is waiting for a new home.

some pictures of the Rainbow II super bright .

some pictures of the cinemonitor hd 8¨

Transvideo monitors for sale here:

the first is a couple of Transvideo rainbow II super bright with TITAN RX and TX inside

the second one is a Cinemonitor HD Full option.

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=170342485384

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=170342511751

both are in exellent condition.

The twin PAG plate that you describe should do the job - although check dimensions to make sure that it will fit around the Master casing down there.

 

Having said that, the technology has moved on so much that I'm not sure that even 2 x L95's would = approximate mass of a brick battery...

I have work with this system for a long time to get a good balance with lcd monitors on the master .

every 5 seconds watching this video , that sound comes from my mouth : " oh lala , outch olala"

About the overexposure knob, can you adjust it? Or is it just plain 100% level.

you can adjust it as you want , you set the 100 % point and you set the start of orange warning on the picture , it works like a zebra on camera .

another tool is the black level it works in the same way for the black .

here it is

 

hello herve

isn't this the "artemis pro hd sdi" rig you have

the transvideo monitor on in this picture

Hi mark

yes it's the artemis pro hdsdi

the white overexpoure control is on (it's the orange part in the picture)

the digital level is on

the waveform is on

here it is

hi Robert , i will make some pictures of what's on the screen in full sun today .

Hi Chris, are you using this monitor as a replacement on your Archer or are you running another rig now? If you're still flying a Tiffen rig how did you mount the TransVideo?

 

Herve, any shots showing the screen in daylight?

 

Thanks!

this is the cinemonitor HD 6¨ SBL at work :rolleyes:

Hi ; I just come back from a live show outside in full sun with the transvideo HD SBL 6¨ without any hood .The picture was extremely sharp , without any problems of viewing angle in full direct reflect sun in the monitor . it was a steadicam alone for 14 minutes live , it can't be done with a monitor that sometimes you see the picture and sometimes you don't :)

I've use also a tool inside the cinemonitor , it's a Zebra (overexposure control) that was extremely useful because the camera was not remotely connected to the truck .

I will post some pictures tomorrow of the setup . I've use also the transvideo cinemonitor digital level and framelines .

Be careful that some people tell you cheap $1000 plastic monitor do the same things as a more expensive one , it's not true . try yourself , and you will see that there is a big difference .

you won't regret all $1 more that you have put in your monitor as it's a very important part of your rig You won't regret it .

link

B) i dont know who did this , but i like the style of both operator and dancer .

i've used a marell digital level internal in my master for years , i've had some little problems with it , bit it was a good accessory when i was working only in SD .

i have used it with a raimbow II SB , in SD of course .

actualy there is more and more HD release and the marell system does not operate in HD modes ,

but now the time is on the all include in the monitors , then you dont have any more problems with your digital levels in any HD or SD pictures

it's usefull to have all in monitors , no more boxe on the sled , no more wiring everywhere . it's like that on the Transvideo Cinemonitor HD8.

3 framelines in diffèrent colors with possibility to isolate borders of the picture that is not in the frameline in a darkness color (good for some FX precision work) , aspect ratio, 5 diferents digital levels tally on the picture .

all of this from SD 720x576 pixels picture to 1080P HD

Hervé

I have both a Marell monitor and their digital bubble/frameline generator. I purchased these at separate times. The guys over there are very polite and seem customer-oriented, but I had a hell of a time just communicating with them when I bought the monitor - almost gave up and didn't buy it.

 

2nd time around when I bought the bubble/frameline I didn't have a problem - just ordered it and it arrived as it should have.

 

My impression is that they're a good company that does care about their clientele but they really need to work out the communication issue. If they're being held up by a supplier that's frustrating but sounds like it's no fault of theirs.

 

For what it's worth I'm really happy with the bubble/frameline - works great. Happy with the monitor as well, especially for the value but it's my backup so I don't use it much.

 

Dan

or if someone have the technical documents from canon ikegami b3 mount .

thanks a lot for this .

hi , i'm looking for a small cable ,

B3 ikegami lens mount to B4 sony lens mount

the plugs are the sames , 12 pins

the cable have to be

12 pin female to 12 pin male . but with the correct wiring to make runing a ikegami b3 lens on a sony B4 camera .

maybe if you know someone that be abble to do that kind of thing, let me know .

thanks a lot .

i've post other pictures of this bracket in the bracket section .