Lawrence Karman

How about speaking to the designers and have them add flip and flop to the monitor output Eric?

Wow, that's a great deal.

Chris, if I may suggest, it would be helpful to your customers if you could include a notice with the new level that the monitor firmware may need to be updated in order for it to work. This was news to me and others that have posted here. And perhaps some of your helpful tips regarding the updating process could be included. I'm not saying an entire manual but you are a scientist, assume we are idiots and give us some help.

What town?

$weet!

There are also P-Tap splitters that give you multiple outputs from one P-Tap connection http://www.bhphotovideo.com/c/search?Ntt=anton+bauer+powertap&N=0&InitialSearch=yes&sts=ta

Thanks for the shout out and glad you sorted this out.

Shawn, unfortunately what you have encountered is often the norm in this business. On US union film and TV productions the usual is somewhere between 12 and 14 hours a day not including a 1 or 1/2 hour lunch break. Occasionally it is shorter and more often it is longer. Commercials sometimes stay at 10 hours but more and more they shoot for 12-18 hours as budgets are reduced and they try and fit more shooting into one day rather than add more days of shooting. Music videos can be limitless. It's criminal and it endangers the health and safety of the crew. The longest day I have worked was 23 hours. Outside the US, when not working under a union contract, all bets are off. I have heard from a Mexican DP that in Mexico crews often work 36 hours straight on commercials. While we are well compensated for these long hours, it's not worth the toll on our health and safety.

Sounds to me like the Decimator is the source of the problem. Some kind of phase issue maybe. Without a systematic test it will be hard to pinpoint. Start at either end and start swapping components and cables to see if it goes away. Again no hassle for me if you want to use my gear for testing.

What camera and lens combinations are you putting on there? Epic?

Brooks, you are welcome to come over and use my Alexa to troubleshoot your issue. I also have a decimator, cinetronic gen2, digital level etc. If you are down converting, why bother using an HD LCD monitor and not a green screen? Did that for a while till I got my first HD monitor. I'd rather look at an HD image and affix a bubble level to the monitor. That's what I did for a few years until the Cinetronic level came out.

Très Sucré! Kickstarter financing perhaps?

Sweet!

Extra cost, extra weight, extra power requirements for something that can often be easily be fixed in post. Maybe if it's light and cheap enough.

So would a horizon correcting leaning camera body on a stabilized roll axis cause the rig to get even more out of balance and require even more correction, possibly reaching the limit of the roll axis? Or could one hard fist the rig with that type of device on there?

Thanks for posting that Mike. It's hard to get a sense of where the RX was at relative to the TX in that video. Would like to see a more scientific demo.

Mike, this new unit sounds great. I'm curious to see a test of how it works through some walls. Is the reception better than the Bolt Pro through walls or obstrucions over a short distance? Can you post a demo or test of this? As Steadicam users, most of the time distance is not an issue. Most often I am within a 100' of the receiver.The receiver is left in the hands of a second AC or DIT and often parked at video village or the DIT station and that is where we run into reception problems. I always have to stress how important line of sight is to the crew. It would be a great relief not to have to worry about that.

Seems to do what it is meant to. Only issue I have had is level turns off sometimes if camera loses power (if my batteries that supply power to the camera die and the camera shuts down-Alexa). Must go into menu and turn back on.

2 degrees Dampening 12 Gyro 1

Don't forget Greg Lundsgard.

I prefer the gear head for most shots. It's much more precise and is the best for holding frames and headroom during long takes.( i just lock it off when I nap in mid 14 minute take) It is absolutely the right tool as Nick said for fast push-ins and pull-outs on a dolly, especially with a heavy lens or long camera package; prevents the momentum from tilting the camera as you stop abruptly. Also I prefer them for quick actor stand ups and the dreaded boom, up stand up or boom down, sit down. And nothing can express your frustration after a blown take better than a quick spin of the wheels. One thing that is hard on a gear head is grabbing the focus knob to help out the focus puller. But it seems that everyone is on the Preston these days so they are on their own. I like using them on a slider (why can't I say that word in anything but an Australian accent?) but you need to add a small riser to keep the pan wheel from hitting the slider, mate. But unless you are on a stout dolly arm or tripod, the extra weight of the gear head tends to accentuate the off balance weight and level shift and the ends of the slider must be supported. As far as technique, that is really a matter of time spent using the wheels. Knobs or wheels is a matter of what the shot requires. Super slow or very tiny moves just lay your fingers around the wheel. Speed gear depends on the shot. The slower the better. I've done shots where I couldn't turn the pan wheel fast enough and just pulled on the tilt wheel to move the head and then layer my hand on top of the pan wheel as a gentle brake. The only way to get better is to use them. It doesn't take long and soon becomes second nature. You can get the basics by attaching a laser to the top and writing your name in cursive (they've stopped teaching that in schools) on the wall. Another good reason to use them is to keep directors and DP's who like to operate off the camera ;-)

I got one and put it to work immeadiatly as the DP lit through the camera and I was able to leave the rig on the stand with the proper framing. Goes together fast. You may need to adjust the tightness of the lock down mechanism to prevent unwanted slippage. A little pricey for those not using Euro but well made and it's something I've been wanting for a while.

That's how I usually hang my arm, but someone complained that his post would slip out the arm when he did it that way so I offered an alternative.

I don't know what they are saying but it's still funny and with Steadicam also. Bravo

Nice sequence Dave in a really good movie. Igor, again, really nice shot. Here is a bit of silly American humor I thought was very funny relating to what I was talking about before. Hope you can understand it: http://www.thedailyshow.com/watch/tue-february-19-2013/how-i-meteored-your-motherland