Mike Germond SOC

I loved it. No problems the first time around. I bought it from a Chicago DP/Steadicam op that I coincidentally found on eBay, and my understanding (through him) is that the Paralinx isn't subject to the interference that has made me hate the Camwave so much because its not in that crowded 2.4gHz range. We also ran a Bolt simultaneously so the Director and my AC could have separate handheld monitors. There was no interference for either of them, and both maintained picture throughout the whole show (Tim McGraw concert music video). The only thing I wish I could have gotten was the Arrow+ so I could add receivers to my kit later. I rented the Marshall 6.5" pictured below, but I think I want to buy the V-LCD70MD for its ability to cross convert HDMI to SDI internally. That's one less converter to buy, and then the monitor can stay with Video Village if I need to connect a bigger SDI monitor. If anyone has opinions on this monitor, I'd be curious to hear feedback: http://www.marshallmonitors.com/products/monitors/V-LCD70MD/index.html

I'm sitting at the Dallas airport now and our crew checked a total of 17 large and mostly overweight cases under the plane. Media rate is $50 per case with no weight limit on most airlines. The max number of cases on American (which I'm on now) is 50 for normal flights and 25 for the small planes. I also fly Delta often, similar policies and prices. When I had a Flyer LE, I stuffed everything I could in that case and got it up to 90lbs. Still $50. You need a pretty believable story or a media credential. I've been hassled by Delta for one I made at Kinkos a while back, but a complaint to customer service got my money back. Now I'm lucky enough to carry a NBC Universal/NBC Sports credential so I don't get much hassle.

Problem solved. Thanks to all that lent a hand. I'm headed to set with my new Paralinx Arrow purchase and a rental monitor.

Bump! No solid leads yet.

Hey guys, First of all, happy Father's Day to all you Steadi-dads like me out there. If you're taking the time off from your family to read this, shame on you...but also thank you! I need a last minute favor from the community. I need to rent somebody's Wireless HD kit for a 1day gig in Beaumont, TX this Thursday 6/20/13. It doesn't matter what unit (CamWave, Paralinx, Teradek, Switronix, HP Video, Ikan). Lower delay is ideal, something like the Teradek Cube even with its larger delay (and iPad capabilities) is acceptable. Zero delay or broadcast quality is not necessary. I need it for monitoring in a concert venue, so a kit with a portable handheld monitor would be perfect. If not, that's not a deal breaker. My PRO/XCS rig and all my accessories are geared to AB mount, with P-Tap, XLR, and PRO style power options available. The camera is the Canon C300, which has HD-SDI and HDMI outputs. I would need the gear for the Thursday shoot, but I'm traveling Wednesday and Friday. As it pertains to pickup, I'm flying out of Orlando on 6/19/13 with a 2hr layover in Huston (IAH) both ways. I've already tried all the local ops in Central Florida to no avail. Since I doubt that I could take delivery by my flight time, I'm hoping to find a local rental in Beaumont or a generous colleague that could meet me at curbside at IAH during my layover, perhaps for a beer or 2 outside the checkpoint (that exchange has the makings of a good story later). Worst case scenario, I could probably take delivery at my hotel in Beaumont on Wednesday. Please email or message me your offers or post tips and recommendations that you may know of. I really appreciate the help. Mike

I use the Skeleton Housing a lot and you can slip the power cable out the side that way. You can also plugin via USB or input an external MIC like I did in the Steadicam video.

I tried that first, but it doesn't sustain over an extreme period of time (1-3 months). The camera heats up too much and causes recording errors and unreliability. Ultimately, the camera is much happier if you bypass the charging circuit completely. I still use the USB charger method for a short, 1day sort of time lapse though. Since our camera was in a remote location, I defeated the battery in the WiFi BacPac and hard wired that to the dummy battery too. The jist of this thing is the frame of a cheap eBay battery, a National Semiconductor LMZ14203 Simple Switcher, and the appropriate resistors to make the output voltage of choice. I used a 12v 400mA wall power supply, and the LMZ14203 can accept input from 6v to 42v.

I will say the battery performance leaves me high and dry on many occasions. I've had them strapped on my life jacket all day, only to land my best jump of the afternoon and find out the camera died during the run. And the WiFi BacPac drains the camera even faster. It has its own battery, but once that is dead, it drains the camera. You can't fill a 32gb card within the battery life on these things. I created a dummy battery with a voltage regulator in it so I can run the camera off of AC power. I have been able to leave a GoPro on and timelapsing for as long as 4 months with media changes every few days. They are great for timelapsing. Check it out..

I like to find new perspectives to mount my GoPro on the rig (as you can see in that video). Otherwise, I'll use it for extreme sports like wakeboarding. In my mind, it's not a production camera, just a toy.

So I guessed right after all. Three ops total.

Dave Eastwood did the shot and it was pretaped he picked up the live shoot Pretapes! I don't know why that didn't cross my mind since I pull it over on viewers every day. I guess that means they did a good job. So then maybe there were only 2 ops, Dave cutting to Dave for the first 2 segments, then cutting to a 3rd operator walking her to the stage. Thanks Eric. Does anybody know how many operators were on the show in total? If it was Dave in the basement, good work buddy! I love the fast preceding moves through doorways and around corners, especially with the clothing rack and actors flying in from just off camera. Normally I'd think you used some lens to make them look closer, but you looked pretty wide so it must have been a tight squeeze! And the whole 360 sequence in the "production office" with the choreography and timing, through it all he kept a pretty dead-nuts horizon. At first the lead room when she rolls out of the office in the chair struck me as an "oops" in timing, but I can see how you'd need it when an amped up backup dancer is running at you with a little blonde girl in an office chair. So if it was an issue, good cover ;) Now I want to know about the wireless equipment :)

Wow the shot is on YouTube already. It's an unofficial source so it might be pulled down later, but for now you can see the opening Steadicam sequence (ignore the music)..

Does anyone know who the 3 (by my count) operators are on the 2013 Billboards Music Awards show in Vegas? A well blocked handoff between 3 lengthy Steadicam oners pacing Taylor Swift from the dressing room to the stage just aired. I'm glad I saw it because it was technically sound, but I'm not proud to say I watched a Taylor Swift performance top to bottom. Especially great job by whoever was operating in the basement hallways. Lots of lighting and music cues to hit in various rooms and he nailed it. Too bad the video shaders couldn't get the colorimetry on the robotic pole-cams to match the rest of the compliment. That stood out big time to my eye. Thoughts?

So many things wrong with that.. *sigh* I trust somebody else will tackle this. Follow Focus huh?

I got mine from MK-V. Simple tilt/swivel mount with a spud.

Broadcast lenses are very forgiving. I prefer Sony cameras with Canon digital lenses because I have their OSD focus readout memorized in relation to feet. Plus the internal focus motor on those lenses are buttery smooth. You can't get that with external motors. My analog BFD is not precise enough for me to be comfortable with live focus pulls on the big stuff. For me, the pressure on an NBC Sports caliber stage is non existent because I've been doing it for 4 years. I can imagine the pressure on an Idol type show, because I remember my first time jitters on NBC. I'd love to be on that caliber of stage one day, and feel that pressure again. The adrenaline certainly makes the rig feel lighter! I've gotta think guys like Tore and John are immune to it now. Anyone dig up a link to the shot?

I am one of those operators that benefits from modularity NOW, but started with a few Tiffen ready-to-run system. I expedited my switch compared to Robert (partly because I didn't have to pay for 2 of the 3), and I think his guidance early on helped me learn some lessons that steered me that way. And believe it or not, some of Eric's words seeped into my thick head. All it took was some repeated bashing ;) I still use a few Tiffen systems for Live work, and their support is great for big corporations. Operationally, I'm 110% confident in stepping onto a set with their equipment. For my personal investment, I love my custom built (by David Hable) HD electronics in my XCS/PRO sled. In fact, the options I had him add turned out to closely mirror the new Pro Cine Live, minus a spare coax line and some AB taps. I love the idea that I can upgrade electronics and stages as the times change, and my XCS post and gimbal are indestructable but upgradeable if needed. And if my time in the Tiffen world gets me addicted to the tilt stage, I'm happy to know that I can bolt one onto my PRO thanks to Betz-Tools. Like Kevin, current and working. With options.

Looking at your photo (you must have posted as I was writing), does your system eliminate the SDI2 jack that is on the Fiber side panel?

Yes, that's what we've purchased from Gigawave. Swappable from our SMPTE side panel to the RF side panel. Wireless menus interface with the Sony menu. Full telemetry control. My understanding is that the wireless side panel only adds 1-2lbs to the camera body weight. I dislike most of the clip-on systems I've used because of the play in the plates and brackets. I love seeing all this progress with integrated systems. I too would like to see the USA site for your product, and pictures for comparison.

We're waiting on our HDC2400 INCAM setup from Gigawave at Golf Channel. Purchased it last year for the 2nd Steadicam. Is that the same thing you're talking about? I can't wait to see it in person and finally use it.

Thanks for the offer, but I prefer the control of a front mount

Yea that was the sale that fell through. It hasn't been updated but I believe he sold it locally.

Transaction fell through. Any Ultra or Master vests out there? Maybe even an LX vest?

Thanks guys. I'm looking for something well used 2nd hand. It's for my hard mount that gets rarely used. Although I'd certainly love to have a shiny new set like what you guys are offering. I'm considering an offer that was PM'ed to me currently. I'll contact you if that falls through. Best, Mike

We've flown a Sony HDC-P1 with an ENG lens on the Tango at Golf Channel for a test. It makes weight. That camera requires a Cat5 and a 75ohm Coax traveling back to the house, so that's a potential hassle. You can only make a Cat5 cable so small. Here's the camera: https://pro.sony.com/bbsc/ssr/product-HDCP1/ Here's the lens we used: http://www.canon.com/bctv/products/hj14ex43b.html The total is closer to 9lbs. I can give you the owner's contact info if you want to talk shop about it.