William Demeritt

On my Pro Gen 2 battery hanger, with the shape and dimensions of newer batteries, I've been annoyed how Dionics and even Hytron batteries sit a few centimeters to the right (starboard?), which creates issues hitting dynamic balance on the sled before payload. So the idea hit me the other day: "what if the battery paddle itself was just flipped?" The battery paddle itself has a cut so the Anton Bauer plates sit a tiny bit to the right, and the batteries themselves always sit a bit to the right as well. The paddle itself is symmetrical, so rolling it on the X-axis 180 degrees was inconsequential as far as remounting it. The bridge and screw that goes beneath it still mates with the paddle to remove the tilt just fine. With the exception of reminding myself that, on my power blocks, all of the rear battery positions are now inverted (bottom is now top, etc), I can't think of a reason why this could be detrimental. The benefit now is, as pictured, pretty much exactly what I wanted. The batteries' CG now sits almost exactly in line with the CG of the lower junction box and monitor. Also, as an added bonus, as I am normal stance, I can roll the steadicam left and see the battery levels on the Anton Bauer readouts. Anyone else have a thought on why I should immediately return it to status quo? Is there something mechnically I am overlooking or should reconsider?

I believe on Lower Junction Box, the only place a tally power comes out is through the 8-pin LEMO for monitor, but you could have someone make a cable that runs out to an LED light that powers off 12v as well as provides power to the monitor (and tally too?). On my PRO2 sled, I use the AUX line as a tally line and use an old Proformer box placed in the AUX battery position. It draws 12v power off the PTAP of the C/M or C position battery, sends 12v power up the AUX power line, out the AUX port through a cable I made to a photosensor that I place on the camera tally light (taped over, covered up, etc). If light hits the sensor, 12v power is passed thru the photosensor, down the AUX GROUND line and back onto the GROUND pin back into the Proformer box. I then have two RCA style plugs that I can connect, one to the monitor tally input (the Cinetronic Gen 2 had a separate tally in, my SmallHD DP7 doesn't), the other to an LED I place on my monitor to see tally. I think if you look up Peter Abraham's old wiring diagram for the tally system based on the 9v battery and photosensor, you get an idea of how tally lights can work. Then just get creative. In most situations, if you need a tally line, then you also likely have a dead line somewhere on your sled to use as tally.

In addition to the "Dock n Roll", I've collaborated with the grips to have a C-stand nearby, a cardellini and a baby-pin on 3/8 screw available. I'll set the camera on the dock fork (low or high), rough in the shot, and then lock the whole system in place with the C-stand. If high mode, I'll have them grab the base or bottom of my sled with the cardellini. If in low mode (underslung on the stand), I'll add the 3/8 baby pin to the camera's cheese plate and bite that with the Gobo on the C-stand. Obviously not as ideal as having a studio body available, but it's worked out well in the past.

When people come up to me while wearing the rig, I often get questions regarding how it operates: gimbals, hydraulics(?), special electronics, etc. Generally, my quick 15 second response emphasizes that the whole system runs off "dumb" physics: low friction gimbals, ball bearings, inertia and equilibrium/balance are what make the system work well. To that point, I've also had a number of productions call me when their Movi was broken on set, or not working properly, or the 2-man mode wasn't getting the shot they wanted, etc. Personally, I love having a rig whose movement and work performance is 100% mechanical because I can oil the bearings, I can grease the arm, I can make quick repairs in the field. Adding another electronics-driven point of failure, to me, creates a liability. So, the notion of flying a brushless gimbal technology all the time already seems like an "as needed" accessory. If the shot needs it, we use it. In my opinion, brushless gimbals on Steadicam make me think of wireless follow focus running from an iPod touch: sure, it works... but WHY BOTHER? Perhaps there's just a specific instance when it was CRUCIAL, but otherwise these just seem like instances where technology shows the potential to lower cost. However, what it actually does is reveal the necessity of experience and talent. A brushless gimbal on my sled, or in the arms of a Movi operator, could create the most flawless images ever... but what good is it during the 15-45 minutes of blocking and lighting prior to the shot? If the operator didn't know how to block out the scene, what good is it towards making the day? Likewise, if the device is constantly breaking, then why bring it anyway? The reason why spirited discussions take place is usually because it's enthusiasts arguing with insecure people. However, the people who know their role, people like Alec who say panning is only 10% of the job, file those accessories away as potentially useful for the day when a DP or director describes a shot and we know the tool for the job. Enthusiasts see it as their entry-point, while the experienced see it as another tool in the toolbox. Auto-tune makes singers sound great, but I have a feeling talented singers like Adele, Tyler Perry or Bruce Dickinson (Iron Maiden, you chumps) could care less about auto-tune threatening their careers. In my opinion, line producers are more about the dollar sticking point than the tech solution. They want to come in at or under budget, and the show to be completed satisfactorily, shots be damned. I think they're less interested in hiring a Movi operator for $400/day vs a Steadicam op at $3,000/day... and more interested in trying to get a Steadicam op at $1,000/day and a Movi operator for $400/day.... or just the Steadicam op for $1,000/day.

I put hard side velcro on top and bottom of the readout. Whenever sun is around, I have a long piece of soft side velcro over the top and bottom, and I can bend it up or down so I can see the level but it also acts as a great shade. Brighter would be nicer, but for now it works.

We still talkin' about this chode?

I'm curious about the opposite: do those charger charge Anton Bauer batteries? I have Dionic HC's and wonder if they'd charge on that charger.

Hey Brooks! I have in the back of my mind a director's monitor built, and if i were to buy it, I was going to go with the SmallHD OLED monitor + this bracket: http://ikancorp.com/productdetail.php?id=516. From what I've read, the OLED is like you said: better color, better tones, and is a better representation of what you'd want a director to see. More control over it as well. You can attach other battery plates to the back and use other batteries, LP-E6 batteries (used on Canon 5D), etc. However, as advertised on the link below, the runtime for the monitor drops to about 1 hour 30 minutes. You get back some of the weight for the handles, but you'd better have a cache of batteries nearby. http://store.smallhd.com/store/DP7-Canon-LP-E6-Power-Kit Perhaps you could stick with an Anton Bauer back for the SmallHD OLED, and buy up a couple GlobalMediaPro 95wH batteries: http://www.globalmediapro.com/dp/A2HGD4/Globalmediapro-Li95A-HW-Lithium-ion-Battery-95WH/ They weigh 1.5lbs (as opposed to 2.0lbs on the Dionic HC's). Perhaps other 3-stud batteries exist that weight a bit less, or are a bit flatter, etc. Plus, the SmallHD DP7 OLED weighs less than 1.2lbs, plus 1.5lbs and the handles (1.2lbs), the total monitor about 4lbs. It's not nothing, but that's certainly small and lighter weight than anything else I've seen.

Remove the battery plate and check the wiring connection between the plate and the tiny connector on the DP7. If memory serves, you have to connect it and then stuff all the excess cable (a few inches) into the cavity or wherever it fits. If it got pinched or has somehow grounded to the battery plate, it could be shorting the batteries while connected.

Come on, NAB attendees. You've got Freefly right there, someone please go ask what they're smoking?

Ok so who's going to visit their booth at NAB and discuss this video?

Strange, most of the directors I know think of the "60-70 people on set" as helping him/her achieve their vision, not blocking it. Maybe this dude just has issues with getting people to work with him?

In my understanding, the cable itself is wired for 24v, not 12v, so the "positive" receptacle inside the cable has 24v power, and the ground is ground. The CAM power ports have 3 pins: 12v, 24v, and ground. When your sled is in 24v mode, the 12v receptacle has no load and the 24v receptacle has 24 volts, and the ground is always ground. The Arri 2-pin power cable only takes power from the 24v line (since that's the only power connector that's wired), and ground is connected to ground. 12v mode = the power cable ground connects to the ground on the battery, but no power is supplied because the power receptacle is not connected to the system (it's 24v). 24v mode = the 24v pin is powered with 24 volts, so the power cable has 24v power and ground connected. Assuming your XLR power cable is wired for 12v as well, that means it will only connect to the 12v line and only give power when the sled is in 12v. If the sled is 24v, the cable has no power because it's connected to a dead pin (the 24v pin, which has no power). Also, in the best of my understanding, the Alexa takes only 12v power on the battery connector (or the SO-XLR plate in this case). So, with the XLR cable to SO-XLR plate, it's giving 12v power to the plate and 12v power to the camera (as if a 14.4v battery was present). If you set the sled into 24v mode, nothing happens because the 12v XLR cable doesn't touch the 24v lead, so no power supplied. ... I think?

What others? I don't think GPI or XCS ever had a booth at NAB, and Tiffen and Sachtler are both returning this year. I'm sure L'aigle and Wondland will be hiding in the back of the Central hall (again), but who else is missing?

Definitely words to live by. New stuff gets announced, and lots of new stuff hits the market within a month or three.

I'll be there 13-15th, however long it takes Jim Bartell to discover I'm drinking on his tab.

Note: I'm writing this review having freshly installed and tested the newest firmware provided to me by Zachary Shannon from IDX which addressed the link time. Prior to this firmware, the CW-3 required the receiver be powered on for 60 seconds before it would link to the TX. I saw the CW-3 at NAB 2014, and immediately thought this would make a great wireless transmitter at the cost (which has gone down since I bought it). List price is $1,880, but you can order one on Markertek right now for $1,480. The unit comes with a transmitter which features a power connector (DC plug/receptacle with a screw nut assembly to maintain a positive lock once attached), HD-SDI input and output, and 2x RP-SMA plugs on top of the unit for using external antennas. The receiver has no external antennas, and just a power connector (same DC plug/receptacle) and HD-SDI output (1 output). The TX and RX both also have 1/4-20 screw holes for placing them on a NOGA arm. Both units do get a bit warm, so velcro adhesive does break down sometimes, which is why the 1/4-20 is more ideal for placement. Both units also have the characteristic "LINK" and "VIDEO" lights which function as you would intuitively expect: LINK blinking means it's searching for a link. VIDEO off while LINK is on solid means no video is detected over transmission. Also, both units have a physical power ON/OFF switch, which is a mini "rocker" style switch. Things also included are: 2x PTAP to DC connector plugs to power the TX and RX; 1x AC to DC connector plug for powering the receiver from AC power; 2x small 90-degree antennas for use on the TX. As mentioned in the note above, feeding the TX an HD-SDI signal from the camera and with a monitor connected on the RX side, the new firmware greatly helps on link time. After power on, the CW-3 TX connected to the RX and has a image on the monitor in less than 10 seconds. This is a huge improvement over the firmware that shipped with the unit, and I'm stoked to see IDX actively developing updates for these units. The firmware was updatable by me using a Windows computer (I know, boo, hiss) and a Mini USB to USB plug with the device powered on. The RP-SMA connectors also come out of small holes in the chassis of the TX unit which has enough clearance for attaching the small 90-degree bendable antennas that come with the kit. I found a few others antennas that work for 5GHZ also attached, although the clearance on the whole is a bit snug. I also like the 90 degree antennas, which means I don't have to place the unit in a vertical position to have the antennas in a vertical position. Lingering issues/considerations: The only remaining issue is PsF, which IDX has told me they're working to resolve ASAP. One thing to note, with Sony cameras, I think that 59.94@1080i is non-PsF (pretty much the only format that isn't PsF), and the CW-3 will transmit it. At this time, the CW-3 still does not (and probably will not ever) support multicast (1 TX, multiple RX units). Of course, considering the cost of the kit, I have considered getting a second kit and just transmitting a second 1:1 system to give an image to wireless handles for the director, etc. I will also admit: I've told people the transmitter is a "CW-3" and not a "Cam-wave" because unfortunately the term "Cam-wave" has become a bit of a crowd displeaser. If I say "Cam-wave", it's usually as "the newer generation Cam-wave, released in 2014... improved range, link time, I've been very happy with it." Generally, once it's powered on and working properly, everything is fine and people's negative experiences are cast aside. I've had this wireless transmitter on a number of jobs and was very happy with the performance (especially considering the price), and that was before the firmware update.

Does the CW-7 have the same mandatory 60 second startup time? That's been my ONLY frustration with the CW-3 by IDX. According to IDX, to use DFS, they are "required" by the FCC to scan all frequencies prior to linking... so that means 60 unavoidable seconds from receiver power on to picture up on monitor. IDX claims it's an FCC requirement, and yet the Bolt 300, 600, 2000 and others that use DFS link in under 5 seconds from receiver power and still use DFS (probably links on a lower frequency in 5GHz and then swaps to DFS after 60 seconds). Otherwise, been very very happy with my CW-3. Swappable antennas, etc.

I've got a SmallHD DP7-PROHB on the Cam-Jam yoke with a Sachtler tilting telescoping monitor arm. Never noticed any vibration or issues, so long as everything is screwed down tight in the tilting mechanism.

I think the rule of thumb is to never agree to a rental below a 3.5 day week. Productions find a lot of bizarre ways to present it sometimes, mostly because bean counters are sometimes catching flak from the mother corporation. Example: some reality show wants to book you for 4 weeks, $550 /day, 5 days a week. The daily rental might be low, but the weekly is $2750/week, or $785 for 3.5x days. And others are right: your day rate doesn't get discounted on the guarantee of a longer run...because unless they prepay you for that longer run, you're still an at-Will employee, and they could terminate you after 2 days.

If the M1 is able to be taken apart and field repairable, I think it's a wonderful feature for operators. In the past, a Tiffen repair would require sending in the rig pretty much always. With the M1, it would appear that a problematic gimbal or component could be removed and swapped in the field by the operator. Interoperability of components is the responsibility of the owner to research. Nobody is required to adhere to standards of interoperability with components between manufacturers unless it's advertised as such. My ability to field service my rig or swap components should a piece fail gives me great confidence in my gear. I'm happy for those operators who are considering the M1 will have that option at their disposal.

From what I am seeing the Digital 150's are not available anywhere (yet)? Says "Coming Soon" on B&H and "Preorder" on Markertek. I suppose the initial shock has passed, and the weight is definitely more in favor of the Digital series for power output vs weight. The size of the battery still seems sizable, but on the 150, probably worth overlooking.

I have low-mode dialed in such that I can hit it in less than 60 seconds ("poor man's" low mode). I usually ask the director or DP where they want the camera, and don't say things like "OK, I'll swap over to low mode". If that's where they want the camera, then that's where I get the camera for them. How I achieve it should be irrelevant to them, so long as they get the shot and doesn't delay their day. IF they ask me "Are you going to low mode?" I'll quickly soothe their fears and tell them what it entails: "move my monitor, extend the post, move the gimbal a bit and attach my D-bracket... followed by a quick rebalance. Explaining it right now probably takes longer than doing it." With my gear, I swap to low mode and put on a longer arm post. That covers the "maaaaybe aruond the hip and lower" range. If it's "maaaaaaybe around the hip and a bit higher", then I'll add the D-bracket and stay in high mode (so called "low high mode").

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I believe the Pelican 1650 / Storm IM2950 would fit it quite comfortably. My Pro 2 hanger and sled are a bit snug in the 1650, but it fits. With the Gen 4 battery hanger, it should fit perfectly. Also, the width of the sled is almost exactly the width of the 1st layer of foam, so you can cut it out yourself or get a hard foam laser cut and would fit nicely.