Lawrence Karman

Jens, do you know if the SD bnc out is a separate line to the top stage, isolated from the monitor/power Lemo on the bottom stage? (perhaps good for return video for the live TV ops.)

Fantastic looking trailer. i'd like to hear about how you used that camera. Lenses? Dolly? Steadi? Crane? HH? Double system sound? Size of CF cards and how long were you able to record? BTW, I'm in Savannah for a couple months. Drop me a line if you are in the area.

It was shot at Hollywood Center studios, formally Zoetrope, on Las Palmas. I wished I got to operate that one but the DP did it. I did B camera and shot some cheesy Karaoke videos they used as background in the bar. The opening was shot with a 10-1 zoom lens. 1 day of rehearsal and shot in half a day. 16 takes, many busted early on. Printed 5. 3 perfect ones. Ad-libbed dialogue different in each one. I miss Bob. Did 4 movies with him and never enjoyed working for anyone more than him. He really treated you like an artist.

Sorry to contradict you Erwin, but, I worked on The Player. It was a Titan crane, no Techno (was it even invented yet?)

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Thanks for the report William. Now if only Apple would open this phone up to Verizon I could dump AT&T!

Sorry, I HAVE to ask! What the hell? The DP designed a shot pushing past someone into a locker which had a false back which opened to reveal another room beyond. Could have easily been done on a dolly, but what do I know? Fahgetabout dynamic balance; it was just a straight move, no pans so it wasn't important. It was all i could do to balance it. Think I hung Preston motors off the back of the camera for more rear weight, added weight to the bottom of the sled and as you can see the camera is barely on the top stage. To answer the original question the longest millimeter I've had on was a 150. Don't recommend it either. The benefit of using long lenses is the horizon becomes less of an issue. Wide lenses tend to show off-level more.

This was pretty long. Don't ask.

What Ron said.

Think I'm going to have to agree with Eric. Not sure about the type of stabilized head, though. I thought all the XR heads were converted to Predator duty in Iraq/Afghanistan/Pakistan. Nobody throws a glass away better than Robert Carlyle!

Nice concept and work by George, but what was he saying? Maybe they should do one in English.

No AR. They had lots of Technocrane work too.

Here is that cable: http://www.steadicamforum.com/style_images...e_types/gif.gif

The earlier models are much better suited for Steadicam use than this. Different earlier (400 and 500) generations use a variation of the simple plug that Richard showed in that photo rather than the adapters you mentioned. You can cut that off the dock which came with each unit and attach a 5 pin PRO recorder Lemo plug which will power the unit and facilitate input/ouput. You might be able to find these models on Ebay.

First you have to ask what kind of camera was used? Heavy or light? Also is this a 1 take kind of thing (likely given the subject matter) or will you be expected to do this a thousand times? Did they have to maintain a low profile...no grips or carts etc.? Once you know those things you can better answer the question. One method I would have considered is stepping on to a doorway dolly and being pulled the 3 blocks. Better to concentrate on the framing, horizon, composition, and the black bars. Definitely not Don Juan, I prefer to walk backwards and if it were a light camera, low profile and just one take I would have done just that.

Ron, if I recall correctly there is a Gyro mount that attaches to the bottom of the PRO 2 battery rack which will serve that purpose. They should have it at GPI.

Beaucoup headroom.

Looks nice. How much?

Please, before June 15th! On location after that.

Pretty f-ing cool. But what kind of lame wireless focus system were they using? What did it have a 10' range so the AC had to run along side instead of sitting near the stage?

Now that's just mean. Funny, but mean.

While I have one I am not looking at it but I would say it would not work.

Checked today and we are using Belden 9221. DIT agrees that although it is not spec'd for digital in that short of a run it works just fine.

Meanwhile we shouldn't even be having this discussion now that fiber is around.

I think we had this discussion before a few years ago. I'm doing a digital show now (F23) and we are running 444 through what looks to be 2 very similar thin BNC cables 6 feet off the camera to the back of the vest and down 100' of normal BNC loom provided from Clairmont back to the deck and experiencing no drop outs to date. I know this is discouraged by PV for the Genesis, but the DIT has no problem with it. I may add that these are much thinner and more supple (think Barry White voice) than the ones I have used from PV before. I'm no engineer but I suspect that in such short jumper runs the ratings are not applicable and they perform just fine for digital.