Mike Germond SOC

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I have the COI, John has it too because I rented his gear. I have an email confirming me with my deal from the UPM as well. Maybe I wasn't as cautious as I should have been, I thought that was enough. What are your criteria for a deal memo? Is a signature necessary? This and a few others just look like posed stills. That guy sure is palming the stage isn't he? I have the treatment and the director is actually the star of the spot. It's a mock behind the scenes of a music video shoot promoting a contest put on by a Norwegian soda. The winner gets to be in Ray Kay's next music video. Locations were 1st st by Nikki Beach and 14th st on South Beach, not sure what they ended up using. Does that sound correct for that scenery Ozzie?

Eric, I'm thinking it was poached because they booked me first then called back the day before the job and said they found another operator. It was a fishy situation. Could be the op gave them a better deal. Or maybe he was the director's boy. But when I mentioned my cancellation fee for less than 24hrs notice, they fell off the face of the planet.

No, it was in Miami. One of the two I was coming down for when I talked to you. At least that's what the original article references that this picture is from. Could be an old photo from another Ray Kay shoot.

Funny coincidence, that was a job that was poached from me earlier this week. Whether it was known by the operator or not is undetermined, but friends on the job confirmed shady business practices. The director and the product are Norwegian, maybe the op is too? Cool photo though.

Yea I've been talking with John all day, as well as Andy and Ozzie. I'll try James as well, thanks for the contacts! I definitely need to make a decision tonight if I'm shipping anything in..

I'm between rigs right now, just sold mine and haven't gotten the new one in yet. I need a rig for an Alexa job in Miami on Thursday, 3/29/12. It's a last minute gig that I just found out about, and there doesn't seem to be any gear available in Florida. Does anybody in the state or at least on this coast have a rig that i could dry hire? Alexa accessories are a plus. It would need to ship Monday for Wednesday delivery to Orlando. Thanks all!

Will this only work with the BDR or also the analog BFD receiver? And if that's the case, I'm assuming they wired the pins so power could be looped through from the 2nd port on the analog BFD receiver? I don't have a BDR, but it looks as if there is not 2 power ports on it..

I use RG-179 for my HD post cable and lightweight jumpers. It is 75ohm and uses compression fittings on the ends (the center pin gets soldered though). It's the same stuff Tiffen (and probably other brands) use inside their sleds for HD-SDI wiring. I can get the stuff pretty cheap and by the foot locally if anyone ever needs some (ends too). Here's the quickest examples that I could find: RG179: Clamp/Solder style 75ohm connectors for RG179:

Wish I woulda seen this earlier. I could have probably sold this idea internally to the network.

Will, here are programmable voltage regulators that fit your bill. Andy Montejo got me hooked on these. I think Stilling knows a thing or two about them as well. Most serious hobby shops carry them too.. http://www.castlecre...ucts/ccbec.html

Here's a shot from the Epic gig that I just got off of. It was Epic, Arri Ultra Primes, Preston, CamWave, and a mattebox on the 19mm rods. I put my SO-XLR plate from Anton Bauer on the battery plate that came with the kit, and powered it off my Flyer LE sled. I didnt know what to expect going in, but I had flown a RED One with much heavier accessories before without problems and the Epic was still lighter. Not thrilled about RED changing all of their ports so that cables for the One aren't compatible, but we had the pieces to make this kit work. Also a mystery is why they reinvented a simple run/stop circuit. The placement of the ports is hard to get fingers on, and the REDMote doesn't give you full access to all the menus, so you still need the onboard touch screen LCD. The SO-XLR adapter is great because you can power the whole kit off of 4pin XLR, a cable most rigs come with. Two IDX PowerCubes gave me plenty of run-time for the whole sled. The DoP owned the A-camera and never raised a concern about the battery issue that Dean spoke of. I'd be curious to hear more about that.

Here are the results of the show. The camera was indeed the 900R, not the older model. It also had the retracting pin in the 4pin XLR like Chris and I suspected. All of the AB plates had p-tap connectors as well. I didn't go this route, but the options were available. Everything balanced fine and came in within my Flyer LE's arm range. With just 2 PowerCubes, I got on average 3hrs of run-time powering everything on the sled. I didn't even have the post halfway extended. I later used the camera handheld with Hytrons and could only get 1hr out of it. The SOXLR plate from Anton Bauer was worth every penny!! There were 2 G-zoom units at the venue, on my rig courtesy of John Atkinson (using my BFD for focus), and on Jamie Soto's ActionCam rig in another studio courtesy of Dondi Sanchez. One lesson I learned about using the BFD with G-zoom is to calibrate the motor without the G-zoom connected.

That's what I thought, power applied to the camera's 4pin xlr can feed back to the battery plate. I bought the Anton Bauer plate anyways, it's a good backup. Plus UPS 2nd day air was $9!

Does this look like it? http://www.bhphotovideo.com/c/product/135979-REG/Anton_Bauer_SO_XLR_SO_XLR_4_pin_XLR_Snap_On.html

I've got the following 3 components coming up in a show this weekend: These aren't the exact components so disregard the v-mount camera body. We are going to stack these off the back of the camera and I want to avoid flying a Hytron on the top stage of the rig when I have 3 perfectly good PowerCubes on the bottom. How can I power this setup from the rig? Is there a way to feed power from the camera back through these components? I seem to remember a trick from a post somewhere involving notching out the female 4-pin XLR connector so it doesn't push down a pin in the camera body that supposedly cuts power to the plate. Does that apply to the F900? Advice is appreciated!

I got 2. First from 'Jordan Brown' when the 'from' address clearly said 'James Brown'. The second one was from his twin brother 'James' who must be sharing notes with 'Jordan' because his message was verbatim. Anyone with a brain can find out my contact info and what city I'm in via google. That was the first clue. Closely followed was the 'states of the federation' comment.

Tim, would it be worthwhile for you to install the Tapatalk Plugin for this forum? It's by far the easiest way to view and participate in a forum via iPhone, Android, Windows Phone, or Blackberry that I've experienced on other forums. They say they are rolling out Push Notification soon, which would do what Richard is asking. I'm curious what you think of it..

two things 1ms is not one frame you can't see the difference between 1 and 1.5 Frames...... Correct. 1 m/s is 1/1000 of a second. About the same time a photo-flash light lasts. Ahh you fellas are correct. I misread something.. But the delay on the Link RF system was unacceptable none the less

That makes total sense. It seemed from the PDF like they were describing the AirPaint. It would save us some delay not to have to run it through a framesync, though we have hundreds of them readily available in Transmission. They do note that the "zero delay" goes up to 1ms delay (1 frame at 30fps) when Genlocked though. But it beats the 1.5frame delay we had when Link came in to demo their system for us. And the price certainly beats all other options out of the water. Thanks for the clarification Matt!

I have seen the AirPaint and it looks like a solid fallback for Sony RCP's. I'm curious about the vague reference on the Meridian price list that you can get Full Telemetry via Sony RCP's for an extra $10,000 USD. I'm also wondering why Genlock is an extra $2500 USD option, does the receiver not do this natively? If anybody has encountered these optional add-ons, shoot me a message. How are folks getting PGM and Prompter feeds when wireless? Buying up a couple of Modulus units?

Have any of you worked with the Boxx Meridian on a Sony broadcast camera (HDC-1500 or other)? I'm curious what functions it can do natively and what things I will have to venture elsewhere for. For example, shading control, tally, PGM return..

I designed an over the lens type system for Golf Channel that was a compilation of ideas I've seen. It's incredibly rigid and works great with a 7" LCD. It also allows for mounting of a LitePanel or 2 (talk about throwing DB out the window!). We're running it through the camera via fiber of course, no wireless here. Steadicam Prompter Gallery

Call Leslie Hicks @ Mohawk and ask for the 6ft steadicam fiber jumper. Her # is 978-728-5292

Robert, I spent 5mins in the Lens menu and Camera menu today on Golf Channel's Sony 1500 and made my VTR button trigger the camera intercom instead of my returns. I don't normally use it this way because we use wireless Tempest Clear-Com beltpacks, but it is a working function of the G-zoom nonetheless. It's all personal preference, but you get what you pay for. My philosophy is to spend the money and buy it once. If you cheap out, you'll end up buying it again. I got the first Stanton F/Z and once you get used to it you don't even think about it. Having it rewired with shorter thinner cable is a must, though. For people that do a lot of Live TV/truck production you can't count on the lens having internal focus as well as zoom. Performance is critical and when I see a show you can almost see the cheaper zooms lurching when starting or changing direction. The Stanton is bulky, but it covers all video lens configurations and is very smooth. Plus you have range adjustment for focus and zoom centering which are very important as well. Not an ad, but most guys do have this. John A John, I got the G-zoom for its smooth zoom trigger, compact design, and interface with digital lenses. But I have worked with cheaper controllers like the ones you probably speak of, and some of them will lurch no matter how delicate the operator. And while a G-zoom AND a BFD receiver may cost more than a Stanton setup, it's a no brainer for those of us that already have a BFD in our kits to cover both digital and standard lenses. I wasn't raised on the Stanton, so I've always preferred to have my hand on the gimbal handle anyways. The centering pots on the G-zoom are also accessible for the end user to tweak if need be. In the end, we're all saying the same thing, it's totally a preference thing. I'll admit I was skeptical of what the performance of the G-zoom might be when I was shopping, but I wouldn't change my decision having used it on live TV every day for the past 8 months without a breakdown. For me, I like the feel of my hand on the gimbal with the zoom right where my thumb naturally rests and focus right at my pointer finger.