William Demeritt

And if there were a Steadicam operator wearing a mask on set to disguise his identity, working across the picket line, I'd personally find out who it was and post his name on every street lamp in the city. That selfish lowlife worm should never work in this business again. Anywhere.

Just my 2¢.

One challenge we face in LA is that you can actually make a full career out of openly going against the Unions (and scabbing on jobs that put someone out of work). While in other places, there's an actual fear of being found out, here in LA people damn near make it a lifestyle and don't care. The individual who finished shooting the last Sharknado movie allegedly has staked their name on saying "F*** IATSE".

So what benefit does the Union having a contract in place grant you that exists now that you didn't have before? Were they not paying overtime? Were they not keeping things safe? Because it sounds like the Union just dealt themselves a winning hand: they get a contract, contributions moving forward to get you "Back to work", but you get nothing retroactively? Is that accurate?

Money or no money, I'd be inclined to quit that show. Doesn't sound like a health workplace, Union or not.

I carry a roll of Saran wrap in my kit, makes for great rain covers on the go. Anything you need to protect from water, just layer it. For the monitor, I usually wrap the screen once and pin it in the back.

Does anyone know of a shop that services/repairs Digital M-One motors? I'm sure the manufacturer is an option, but after all that I've heard, I'll keep that as a last resort.

Nice, that seems like a great alternative. I'm trying to find out if the Spot trackers do multiple devices under the same subscription, because $99/year per device seems a bit steep considering the competition. Then again, Trakdot may not do movement notification and be as security minded.

I found this looking at cool gadgets online, and thought it might be perfect for us:

http://www.trakdot.com

Battery operated, GPS enabled and a cellular signal to transmit the device's location at any time. I figure it's pretty great for cases when working in town or traveling. I'll probably order one to give it a try and see if it sucks.

Anyone else find a product similar to this, comparable price, etc?

EDIT: then I realized it's sold out. Well, hopefully when it gets back in inventory, I'll order one.

EDIT 2: you can find the device in other sites, like Amazon:

http://www.amazon.com/Trakdot-Luggage-Tracker/dp/B00KL3ZA4M

I bought 8 Dionic HC's back in 2011(?) and they're still going strong 4 years later. I believe that most of the newer batteries out there (AB, knockoff, etc) all are pretty much equal when it comes to discharge and lifespan. Personally, if I was going to buy again, I'd go with the Dionic HC's again. Sure, there's cheaper options, but I know I can (probably) call Paul Dudeck or someone at Anton Bauer if one of the batteries went "bad" and maybe replace it under warranty, or get repaired easily. The alternative is wondering why my cheapo knockoff battery went bad at $200 per battery and replacing out of pocket. Not a wallet breaker, but I still like having someone I can call if/when something poops the bed.

However, Robert got it right: it's a battery. Lithium Ion batteries aren't rocket science at this point. Buy what you can afford, and what services your market.

Sorry for the long post. Heavily edited to keep it this short.

... HOW LONG WAS THE FIRST DRAFT???

:wacko: :blink: :wacko: :blink:

I'll be reading this on an airplane Sunday.

By flipping the plate are the batts the same amount off in the opposite direction?

When I first did it, I thought they were less offset, but logically it just started conflicting for me. When I get home, I'll try to measure it to see where it sits.

The two batteries are now more centered, yes. The battery underneath the post is still off, but I generally try to fly 2 batteries for most setups. I get away with it most times, with only a few exceptions. I think 2 out of 3 ain't bad, until I upgrade to a Gen 3 battery hanger at least.

The photo from above was the only way to try to show how the batteries are now a bit closer to center. I'll probably try to find the CG on the batteries to verify what visually looks accurate to me. EDIT: geometrically, on the Dionic HC's, the CG of the battery is almost exactly where you'd think it should be: dead center of the battery, equidistant from each wall.

The photo of the 3rd battery position under the post shows how far off most of the batteries looked prior to me flipping the battery paddle.

I'm considering picking up a backup monitor, wanted to see if anyone had a spare or primary they wanted to sell off? Please let me know if you are. Prefer the DP7-PRO High Bright, not too interested in the standard DP7 or OLED models at this time.

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.

 

 

So, what happens when technology, pardon the pun, levels this playing field?

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.

 

 

Still if the perception becomes (especially among line producers) that the hard part of our jobs can be 'solved' by the tech then we are kind of fucked.

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.

http://www.bhphotovideo.com/c/product/1001015-REG/steadicam_815_7940_01_steadicam_whm_bg_artificial_horizon.html

 

indoors works fine .... outdoors poor light!

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?