Lawrence Karman

David, aside from just saying no to 400 please offer your suggestions for maintaining the status quo. And if one is to get our employers to make up the shortfall keep this in mind: somewhere I heard it would take a 35% increase in employer contributions to make up the projected shortfall. The most they have ever increased it was 6%, so good luck going there. And keep in mind this new contract was negotiated by the International, not local 600. So anything relating to operator staffing requirements was not even discussed. And BTW I am not part of any negotiating committee, just a member of 600 like you and not happy about this either.

They will increase the co-pays as well so you will get your wish. You will never get the opportunity to work the 400 qualifying hours if you are not a member of the union. Maybe you are having a hard time now,but there is a future. And here are a few other reasons: an employer funded pension plan, contract mandated turn-around periods, meal breaks, guaranteed rates, free training sessions, free screenings and a lame monthly magazine. I agree these changes suck. Please chime in anyone on what can be done to avoid it.

What Jamie said. And consider the fact that our health plan is fast becoming underfunded. Producer contributions are down due to the writer's strike and residuals are flat and falling fast and health care costs are rising.. The money has to come from somewhere. Aside from getting the producers to kick in more the other alternative is to reduce the amount of members using the health plan, thus the increase in qualifying hours. And our plan is virtually becoming an HMO only. It's not pretty and I don't know what the alternative is. Stay healthy.

Nice interview. How about that Hitler mustache shadow! Worst interview lighting ever. Thanks for posting that link Chris.

I had some done several years ago at Rathbone Energy and I would NOT do it again. Aside from the absurdly difficult time I had dealing with that company (as others have documented recently) the fact remained that the re-celled batteries didn't last a year. One problem in re-celling is the delicate heat sensor that is built in which helps regulate charging sometimes will not work and that battery may not work on the AB chargers. Then the alternative is buying different chargers or buying a new battery, which turns out to weigh slightly more than the re-celled batteries; a balancing nightmare. I would recommend getting the far superior Dionic 90 batteries, or if your budget doesn't allow, get new Hytrons. AB will recycle them for you and I believe give a discount when you trade them in.

Please try this link: http://www.steadimoves.com/parts.html

First let me say I own a RED one and i am pleased they are offering to take it in on a trade at full value. The problem is all they accessories that were made to fit this camera don't look as though they will fit on some new configuration. Much of that stuff costs near what the camera body costs, so throw that money in the trash or hope to sell it off. Still not sure what configuration would be better or necessary. And I agree that consistency in camera packages with all those different options will be a problem . I like the picture of the camera in hand held mode that doesn't include the simplest thing, a handle on top to pick the thing up and carry it around. I just did a few days of hand held work on a series where the dolly grips are now calling themselves the A camera and B camera picker-up-ers.

I did a little shoot last weekend with an HVX200, and for the first time I used only 2 blue canisters and it worked just fine. As Alec suggested it's easiest to place them where they can be adjusted while wearing it (bottom front and top back), but it doesn't matter technically.

Worked on a RED show where they had this unit and it's internal fuse would blow when mounted on the camera V-lock and the battery mounted to it. The camera pulled too many amps for the fuse in the unit. Perhaps it was an older one and they have fixed this? Not sure.

Haven't tried it but maybe spraying a sheet of plastic wrap with some 77 (adhesive spray) and laying over the top of the plucked out sheet of foam, cutting out the plastic over the already cut out patterns might preserve it?

Adam, thanks for posting that. Very informational and tempting (and those silencers are a little scary too). Charles, you started it, have the conviction to answer it. And the pluck and pull foam, while easier initially, eventually falls apart in any thin areas or strips. It doesn't hold up to long term use.

Here is what mine is: OD 7" Lip OD 2.86"/ .27" tall. It fits loosely inside the mitchell hole. .5" tie down, course thread. There is a low bolt head used for the keyway .36" OD. Threaded holes are spaced every 60 degrees to allow you to change the keyway to allow for proper orientation of the socket block. Good luck.

No.

I've always said the super post is like the atom bomb. Good to have, but let's hope you never have to use it. Think I have used mine a total of 3 times and it's a pain in the arse. Hard to set up and like Eric says hard to tilt. That being said, I'm glad I have it. Even though PRO will rent you one sometimes you can't predict when you might need it. It's not always practical to hard mount to a dolly to get down to the ground, but that will work. As I have said in this forum before when people ask if they need this particular cable or that bracket, if you think you might need it someday and can afford it, and this is your chosen profession, then get it. I used it on one job where the 435 mag was literally touching the ground and the DP still wanted it lower. He suggested mounting the low angle prism to the rig. I declined.

Agreed.

Does the tilt pale require the gimbal position on the post to be lower than if it was not there for clearance and to allow additional space for docking?

What model? Got pictures?

Speak with Christian Betz http://www.betz-tools.com/acc_tiltplate.php Anybody have any experience with this Betz tilt plate? Any PRO owners?

Robert, congrats on your purchase. I have a rt angle MDR power cable Lemo to a straight PRO focus connector Lemo. Works well for me. My camera run cable Lemo's are all straight at the MDR end. The other end is optional; nice to have a rt angle for Panavision since the connector sticks out near my head. At the very least get rid of the strain relief at the camera end. Preston will make it for you any way you want. I think my Genesis plug is also rt angle. Most other camera have plugs that come off the back. As for video, I don't think Hirose comes in rt angle or is necessary. As for the RED you have to be careful about rt angle Lemo's because of the way the connectors are keyed on the camera body.

Mazeltov!

Thanks Chris. I did mention it to someone at Cinegear so perhaps it was already addressed.

While he's re-writing can he address the possibility of moving the position of the electronic bubble anywhere on the screen?

Oh Charles you know i didn't mean anything by that. I was just so shocked at not seeing what is by far the best avatar in the history of this board and Steadicam in general. And a hell of a T-shirt, I may add. Let me also say that if I were gay and you were too, I'd do you in a second. Back off girls, he's mine.

Sorry Charles, but WTF is up with that ugly ass new avatar?

I mostly work in the feature/episodic world. Years ago I showed up for my first live TV job and was presented with Triax cable. It sucked. Surprisingly the following week I was invited back. I did some research and bought some Triax adapters and flew with a thin BNC. Used them maybe twice since then, but now I'm prepared. Got another gig and was presented with thick fiber optic cable. It sucked. Bought some flexible fiber optic adapters. Used them once, but now I'm prepared. I made some ridiculously thin XLR audio cable jumpers. Used them once recently on a commercial with the RED. Like Charles I ask ahead of time how sound will be recorded and encourage them to run double system sound. For budget or logistic reasons that is not always possible. I always encourage them to go wireless, but if that can't happen then I will whip out the thin audio cable. Stomping your feet and playing the Steadicam artist card and refusing to compromise will usually result in you not being asked back. Invest in the right equipment, be prepared.