Mike Germond SOC

I've got the Live TV demo w/ Director's track on YouTube: And plenty of clips synced to video that didn't make the cut. I also have a variety of raw GoPro footage from commercials and such on the hard drives too. It's all rig mounted stuff. Message me if I you want any of it. No action/explosives type stuff tho..

Hey John, Suzanne at Phoenix Optix is waiting for the crimping tool to come in. They're kind of starting from scratch by my request. No price point yet, but I'm hoping for sub $300's

I'd sell you mine but it has some dead pixels (and I still use it as a wireless prompter occasionally). Have you looked at other NTSC monitors? The Camos seems to be extinct.. http://www.bhphotovideo.com/c/product/772139-REG

Again, I don't own the Cinelive electronics. I customized my PRO2 electronics to accomplish a similar feat before Cinelive was released (I like the potentiometer and voltage comparator built into the sled). I'm glad you chimed in, because it seems odd that we haven't seen this question more often if it was a big issue.

I certainly think it's an important function left out of the Cinelive for live ops to adapt photo sensors to a multitude of monitors (not just the Cinetronic). Perhaps others will chime in with their thoughts..

I don't necessarily have the time or resources to make these for the masses. But I think somebody could make a small profit off of a short, intermediate cable that goes between the Tally Port and Tally Cable on the Cinelive to offer a sensitivity adjustment potentiometer. Or would a small intermediate module that plugs into the Monitor Port and passes through all other Monitor functions be better? Similar to the PDL form factor..

The one thing I'm surprised PRO did not include in CineLive is a tally sensitivity circuit with a potentiometer. Tiffen has done this for years. I had David Hable add one to my PRO2 electronics when he modified them for HD. No matter the light source, I can dial the sensitivity in. And it will always output 5v in the Monitor Connector. I suppose it is possible to build a cable with this circuit, but it would require a project box and external power. And I'm not sure how it would behave with the CineLive. I've only tinkered with my PRO2.

I'm still awaiting the results of that experiment. I don't know the price point yet either. Wish I had more info for ya! Mike

It's a Pelican 1060. Got the idea from Peter Abraham. Perfect size for the application!

I'll 2nd that with the Phoenix Optix model from Suzanne. Rugged and rubberized ends and big hearty wires on the dust caps. Beats the pants off my old one. She is putting together a Triax Jumper for me so as to avoid stepping down to Coax. I'll report on the quality/flexibility soon. The sample I got was 4.8mm thick. Here's my Phoenix Optix fiber jumper:

In theory, you could stick 2 wires in the female pins 7&8 of the Monitor connector on the Gen2 and touch the leads to a 9v battery to trigger tally. Polarity is critical, so make sure you're certain about the pins.

http://www.gpiprosystems.com/Cine-Live.pdf According to the CineLive Pinout, you should be able to read voltage on a multimeter by checking pins 7 and 8 of the monitor connector. I don't have the CineLive electronics, is there a "tally level" or sensitivity pot somewhere? My endeavors with Chris at Cinetronic and the custom tally mod on my Pro2 electronics found that the monitor is expecting to see between 2v-24v. The only way to test the monitor is to generate that voltage and apply it to the proper pins. Try testing the sled first, that's probably the safer of the 2 at home procedures.

Did you check the tally settings in the menu? Also, it's silly to ask but I will anyways, did you specifically order the Tally mod on your monitor when you bought it?

What about Gen2 owners? Same deal? Or is my Gen2 upgradable?

Another zoom/focus gimbal controller option worth mentioning (my personal preference) is the G-zoom. It's made by a Steadicam operator so he's in tune with what we need. Small and compact, and very smooth. If you don't already have a focus system to slave, the G-focus package includes a focus amp with the controller at $1699 http://www.g-zoom.com/index.php?main_page=product_info&cPath=69&products_id=196&zenid=ke4f57d681sm7tjk4o0f3vamn3 You'd still have to buy a motor, many use the Stanton motor. If you're buying gear to expand on later, I'd recommend buying an used analog BarTech package (generally $2500 depending on motor) and the G-zoom controller-only with BFD adapter ($860). Then you have a wireless follow focus kit that can also be slaved to the gimbal controller when you need it

Reviving this old, but informative thread.. Is the TRC-75-1 cable (links above) still the thinnest, most flexible choice for Triax?

I had to go to China for the female plate too, and since its a little too big I ditched it. The solution was to cannibalize a $90 SO-XLR plate from Anton Bauer. The studs unscrew and the plate splits in half. I drilled and countersunk 3 holes to match the stud pattern and sandwiched the useful half of the SO-XLR around the HyperDeck's plate. That's about as close to an authentic AB solution as I could find. That's a tougher choice, since you could do some real damage with the wrong setting. Since mine lives on the back of the Gen2, it can always get power from the monitor plate (which is powered by the sled). So I rewired it later to put the HyperDeck battery back in the mix and the plates are wired straight thru. They don't power the HyperDeck at all. Even a switch isn't idiot proof. While I trust myself, I don't know about dry hires or ambitious assistants.

Henry Fraga's wife is an accountant. She's helping me with my Florida business. I believe she has a number of NYC operators as clients. Try Henry for her info

I and all my technical colleagues at NBC Sports in Orlando are bummed to hear of his passing. He built some of the craziest projector mirror rigs in our studios, and we still use them every day. He built us a 27ft diagonal rear projection system with an erector set of mirrors and rigging to blend 3 Christie projectors...all so we could play golf on Live TV. He's told me many stories about his career, most can't be repeated in a public forum. What a character! Here's one piece of his work being destroyed during a taping. We keep having to rebuild it, and Dale had a good story to tell other clients:

I'm qualified to comment on this thread now that I am a Cinetronic owner and have completed a few professional jobs with it. Chris was nothing but quick and accommodating in my experience. It is the same experience I had with him a year ago when I was buying a simple monitor rod mount. I don't think I ever waited more than 48hrs for a response, and he was helpful with my stupid questions. I also purchased on the basis that I had a deadline for a big gig and he went out of his way to deliver on time. As for the monitor and level sensor, both performed admirably. I haven't had the SDI issues yet because I've been working with broadcast cameras, but my hope is that my Hyperdeck will provide a solution when the next Alexa job comes around. I love the level and was able to dial it into a feel that I'm used to. Frame lines and Tally work beautifully. I couldn't be happier with the money I spent on this beautiful and reliable piece of kit! No elephant in my room... Thanks Chris!

I'm jealous my friend. Are you working the games? We are sending a number of producers and talent over from NBC Golf in Florida. I unfortunately will not be able to attend until the Rio games. Be safe!

I have yet to encounter a Broadcast Wireless/Telemetry all-in-one unit that carries video back TO the camera. If it exists, we haven't found it at NBC Sports yet. Prompter return has given my old UHF transmitter new purpose! It's plenty suitable for the job since most prompter systems use composite. And the lower frequency of those things cover as much (or more) than the HD Link will.

I started with AB plates to mount my Shuttle on the monitor. But now that I have the Gen2 monitor I want to tinker and do what Iain has done with his! I find the added monitor mass very pleasing to the balance and feel of the sled. And it's yet another way to add useful mass to the bottom and keep those big Alexa builds on a shorter post. And if I ever lose my Battery Rack II it will be so I can mount the Shuttle on the Battery Rack III! I have the Shuttle 1 so everything is uncompressed. Two 240gb SSD drives ran me $245, not bad at about $1/gb. I remember when disc drives were the same. But I use Sorenson Squeeze with a ProRes preset to run a batch on my drives and clip out/compress the good stuff. Not only does it let you scrub thru media and mark ins/outs so you don't convert excess footage, but a compression to ProRes is fast even for my 2009 MBP since its in the same codec family as Uncompressed. I still roll on most takes until I feel like we've got it but for some reason we're still doing "safety takes". But I enjoy rolling clips back from the camera, especially on off speed stuff. I've got some stunning 120fps raw footage from Harry Potter's castle that I'd otherwise never be able to have!

hr10a-7p-4p As seen here: http://www.mouser.com/Search/m_ProductDetail.aspx?qs=Ux3WWAnHpjALCmniaG9I8A==

Wow! Sounds like a good time to be in the market.. Does that include the accessories like battery plate, yoke, level, etc?