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William Demeritt

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Everything posted by William Demeritt

  1. I've got a Shogun Flame on my 2nd rig, and I am thoroughly enjoying it. I need to add some weight to it, so I might buy a Shape cage for it to add some functional aluminum to it. The power input is a simple circular DC plug on a coily cable to PTAP, but it works and is already better than any of the SmallHD 70x or 50x series monitors. The monitor powers up very quickly, and it VERY bright. Reminds me of my Cinetronic Gen 1 monitor, very bright. The glare could easily be remedied with an antiglare screen protector, but it hasn't really been an issue for me yet. Brightness control is in a touchscreen menu that isn't too buried, once you learn where it is. I also bought a Transvideo clamp/spud adapter to mount it to my Sachtler Tilting Telescoping Monitor mount, but it would work on most/all PRO style spud mounts. http://www.transvideo.eu/store/Clamp-for-Slide Mounts to the bottom 1/4-20 and the 4 additional pegs keep it from spinning. The monitor accepts the SDI record flag, so on any scripted stuff I've done with it, I set the monitor to automatically record once it gets the record flag. Helps serve as a tally/confidence that the camera is rolling. The screen is pretty big, very bright, and only problem I've noticed so far is it gets HOT at full brightness, which also means it chews up batteries pretty quickly. That's fairly common among most bright monitors, though, so it's not a big deal. I do wish that the monitor input voltage could be set to stay on screen, but you can see the voltage input by tapping the power icons in the top right corner (it places the battery readings as an overlay on the screen, would be nice if it could be more discrete). All the inputs are there, I haven't tried making a cable for the REMOTE plug yet but that might be my next project. Anyway, for the price and the versatility of the monitor (and it records!), I am happy to use it on my scripted stuff.
  2. Just received my CineLive package, but I still love my old PRO vest. So I'm selling a brand new PRO vest, NEVER worn, literally still inside the cardboard box GPI shipped it to me in. Chest: 47in Waist: 38in Would love to get $5,200, and we can work out a deal where I knock down the price by the amount for a replacement chest and waist pads in the event your chest isn't as big as Gaston... sorry, your chest or waist may vary from mine? Anyway, drop me a line here, or via email: will AT w b d 3 DoT com Pictures of the box it arrived in available upon request. Buyer: I will cross out on the box MY name and instead write your name, so it says "CONGRATULATIONS **BUYER**"
  3. I just ordered a CineLive package from PRO, but I don't need a new vest (I enjoy the sweat stains and chipped paint on mine). I literally ordered the package 4 days ago, but I thought I'd start the conversation about who might want the new vest. So if you're considering buying a new PRO vest, give me a buzz and I'll set it aside for you. Once I get it, we can complete the sale. Will arrive in Los Angeles. It will literally be a BRAND NEW PRO vest, so I'd like to just sell it PRO's price: $5,200. PM or email me.
  4. How/where can you buy one of these monitors?
  5. Anyone got a Starlite HD5 they're looking to sell? Might as well take a stab, maybe someone's looking to hand theirs off.
  6. I too am interesting if the Beam can support Sony cameras yet? I'll give Andrew a buzz, maybe they have some new information?
  7. I've said no to going to Jumbo's with Baldwin. I'm still not sure that was the right decision.
  8. On Facebook, I asked for help setting up the Omega AR for the first time since it doesn't come with a setup manual or any instructions really. Erik was kind enough to write up this brief tutorial, so I'm posting here so it's archived and NOT lost in the sands of time (Facebook). ============ Ok and I assume you have the 4 stage post? The first step is getting the camera's weight as centered as you can in the rings. Which might mean using a riser plate of some sort. I've used the Ikan ELE-LBP. Its not the lightest option but it does the job very well. To zero it out take off the drive belt once the camera is mounted in the rings. This will let the rings spin freely. Now find the best riser plate height where if you roll the camera left or right 45 or 90 degrees the camera stays put. At a 45 if it drops back to level raise the plate. At a 90 if it rolls over its self and settles upside down lower the plate. It like zeroing a camera out on a jib if you've done that before. The drive motors are strong enough if you can't fully zero out the camera but the closer you can zero out the weight the better the system will work. Once the camera is good in the rings mount it to the stage. Oh and put the drive belt back on. Now its time to set up the rest of the rig. I would first say run the top stage of the post all the way up. This will give the rings clearance from the arm and your body when operating. From there its finding the best adjustment of the bottom two post stages that gives you the clearance you need from the arm. You're probably gonna end up with total rig length in the 6 1/2 to 7 foot range. You also want to move your monitor mount post clamp to right under(or as close as you can get it) your gimbal handle. Doing this keeps the monitor centered to your body when operating and not a foot or so out of your center line where you're straining to see the screen. Plus it keeps the weight of the monitor from having a negative effect on the rig when doing big low to high move shots. The thing the is a PIA with your monitor mount right there is you have to move it when adjusting your gimbal for drop time. Which brings us to drop time. Unlike normal set ups you want to have the rig in almost zero balance. Meaning if you put the post horizontal drifts ever so slowly to vertical there. Crap I'm getting ahead of myself. Before you go to do horizontal you should power up the Head. Switch rig to 24v volt. Power/Boot Button and the LEDs on side of head should light up Red. Press and hold for a few seconds Side LEDs will go Green and PWR/Boot button will highlight blue. Hopefully your camera is close to level. If do tap PWR/Boot button to set the "Level" point. The AR/Omega should be active at this point. You can test this by slightly rocking the rig side to side while in the dock. You should see the rings roll to level accordingly. If its work now put the rig in the balancing pin to set drop or in this case "near" drop time. Man I hope I'm not confusing you. Once you have that near drop time to your liking have at it. If you find the camera is out of level simply tap PWR/Boot button to deactivate system put the get the camera to level by rotating the post up or down. Once you get it level tap PWR/Boot again and presto you re-set your system's leveling point. I hope this very abridged Cliff notes version of Omega/AR helps. It really is a fun rig to operate. If you need more assistance with set up you could also reach out to Dean Lester Hall who could point you in the right direction. Good luck.
  9. Years ago, I showed up to a low budget job. Before loading into the space, the production had a letter from the stage owner that they wanted me to sign, I believe it was a waiver of liability or hold harmless for the stage. Long story short, I didn't sign it, refused to set foot on the stage, and I wound up leaving. Important part of this story: when I told them I wouldn't sign it, the person replied, "But everyone else has signed it." Safety starts with me (and you and you and you). Just because everyone else developed the same blind spot to the same potential threat or danger does NOT mean you should too. Just like in Jess' story, go speak to the person in charge so you know exactly what's going on, and don't accept "everyone else is going along with this" as a viable reason for you to participate. Also, I highly recommend learning about guns. Lots of gun owners, gun enthusiasts on this forum and in our community, and we camera people wind up around a lot of guns loaded with blanks of various types and sizes. Safety Pass program doesn't have a firearms awareness class (for some stupid reason), so just ask another gun owner to educate you about firearms. You may not overnight become an NRA member, but you will know what you're looking at when the gun wrangler shows you what they're using on set.
  10. Well, they do say that Wu Tang Clan "ain't nothin' ta fuck with".
  11. The Steadicam equivalent of this: https://www.youtube.com/watch?v=xzkWTcDZFH0
  12. Right now, I've got 3 cases Case A (Pelican 1650, newer): <50lbs, carries sled, dock, monitor. Case B (Storm iM2950): 54lbs, carries vest, arm, AKS, a hammock, excess gak. Case C (Pelican 1650, OLD STYLE): 70lbs, carries batteries, power cables, BNC, chargers, etc. I'm pretty sure the old Pelican 1650 (Case C) itself is excessively heavy, probably going to swap it for another iM2950 (which seems to feel like the lightest case). Another question: so you're out of town, and sometimes you have to move cases from point A to point B, manually. Do you have them set up to roll? Does anyone travel with something like a Rock-n-Roller Maxi cart? Something that collapses down and fits inside the cases, but then can be busted out to carry the cases? I'm in Puerto Rico right now, and we traveled to a remote beach that had me pulling/carrying cases more than I prefer. It's probably a unique situation, but one that I'd love to avoid in the future.
  13. Ron: looks like they basically sold you the wheels that go on the Roadrunner stands. If the Axel is long enough, why not try getting 8" pneumatic wheels and modify the brake so it still brakes?
  14. The camera weighs 2,000lbs and makes a dolly cry. This camera has one specific purpose, and absolutely no versatility yet.
  15. Good prices, and they have the 1510 with padded dividers too. https://smile.amazon.com/b?rh=i%3Aelectronics%2Cn%3A13514595011&ie=UTF8&node=13514595011 Fyi: smile.amazon.com is to support various charities when you make certain purchases. Mine is set to Wounded Warrior Project, but you can go with what you like.
  16. Anyone got a spare Stanton they want to sell off? Looking to buy one as a backup to my current Stanton. Prefer something that works, nothing that needs repair. Please feel free to PM me or email: will AT wbd3 D0T com . Thanks guys, Happy Holidays!
  17. Here's the Cliff's Notes I've come up with so far: Longer show, W2 for hours and loanout for gear Shorter show/gig, oanout for both hours and gear. The union has no objection to doing loanout, so long as the hours are reported to IA. Time cards have a loanout and personal social security number. NEW: If you're the owner/operator of your corporation, you can file an exemption with the state that you don't need to carry Workman's Comp insurance. If a show says they can't do loanout, it's not because of the union. Most likely, their workman's comp requires each employee and their hours be reported so the production company can pay the workman's comp insurance premium based on the number of workers and the worker's hours. I worked a show that tried to counter with the workman's comp insurance issue, I told them the corp was exempt because it's just me, and they let me do the loanout. Not union, but still worked. Some studios don't allow for loanouts except for department heads, which makes sense because a lighting director might have his guys on a show, so they have workman's comp insurance through his corp. Production still pays hours to IA through payroll and pays the employee directly while reporting earnings through the corp. The item about the workman's comp insurance exemption was told to me by an insurance vendor who normally does provide workman's comp insurance. Basically, if the loanout is simply you (so you have no employees), you file this form: http://www.cslb.ca.gov/Resources/FormsAndApplications/ExemptionFromWorkersCompensation.pdf Hopefully that helps us out!
  18. How's your Lisigav import business?
  19. Anyone have an agent or company they use to purchase worker's compensation insurance for their S-corp or LLC? I'm in Los Angeles, would like someone local or who knows California rules for worker's comp.
  20. Sorry, I didn't mean to confuse the issue, my showing those videos weren't to imply anything about the CineLive. In our testing, I remember we found a loop on the SDI ground, which sounds like the similar issue to Matias' setup. I'm pretty sure it works like this: ALEXA powered by 12V onboard Video device powered 12V off the onboard PTAP Video device connected to ALEXA via the SDI plug Connect 24V power cable to Alexa, and the SDI line backfeeds 12V over the SDI ground. Unprotected devices get damaged. I need to ask some of my electrician friends, but I think it has something to do with voltage differential in a system that has 2 power supplies in 2 different voltage without a common ground. The 24v power supply has it's own 24v power and ground, and the Video device has a separate 12v power and ground (the onboard 12v battery). Safest method: power Video device from ALEXA 2-pin power cable through the body. I think the video manufacturers have been building in protections for this now, but I'm not entirely sure.
  21. I don't think we ever got a real, reliable explanation, but Brian Freesh and I were able to recreate something VERY similar with a CineLive sled and killing a Teradek Bolt. I believe this has to do with the Alexa having a common ground for the SDI video and power system of the Alexa? Not entirely sure, I'm thinking an engineer can explain. However, the issue always seems to have these characteristics: camera powered in 24v mode, video device powered by 12v battery (either within the 24v series or 12v battery outside), and the video device connected via SDI. Here's a video illustrating the SDI grounding carrying power. Basically, any devices that aren't protected from voltage over the SDI ground (chassis) get damaged. It fried a Teradek Bolt, apparently fried your Paralinx Arrow X (assuming it's the SDI model), and a protection in the BlackMagic Hyperdeck Shuttle caused the battery to trip but the device didn't get fried. I'm not sure if this brings you any closer to a definite answer. I think perhaps the newer devices have protection on the SDI ground, but I'm not positive. I haven't killed my IDX CW-3 yet, and I'm fairly certain I've powered it from a 12v source while the camera was in 24v off my sled (either from a battery in parallel OR from a separate battery [MON line] while camera gets 24v from CAM and AUX).
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