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Posts posted by William Demeritt
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I'll be there 13-15th, however long it takes Jim Bartell to discover I'm drinking on his tab.
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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.
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- 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.
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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.
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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.
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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.
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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.
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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.
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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."
I'm sorry if I drift a bit from the original question, but what do you do when the director asks for the camera to be in that grey area between low and high mode where the camera can't really go (somewhere around hip height)
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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Another great option is the Square cash app. With a debit card, you can send or receive any amount of money with no fee.
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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.
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I've bought cables from Andrew Ansnick, but I would also be confident with anything from Alan Rencher. I've got a bunch of his cables now, and he's knocking it out of the park!
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Those were the days, back when Brian trusted me with his rig.
Those days are long since passed...
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I don't mean maintaining the aesthetic look of gear. I mean moreso maintaining the performance of the gear.
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I've heard a few other operators speak about what they do for regular maintenance: weekly, annually, bi-monthly, etc. Whether you're talking about cleaning your gimbal, top to bottom sled cleaning, complete battery rejuvenation/24 hour tests, do you have a checklist or calendar for maintaining your gear?
For me:
- batteries live on charge in the garage between gigs. Usually once every 3 months, I trigger the 24 hour test on the Anton Bauer chargers.
- gimbal service: at least once per year, or immediately after any job where exposed to the elements/desert.
- sled cleaning, top to bottom, once a year with canned air and paintbrush
- PRO arm: swap canisters between sections in the arm, kinda like rotating my tires. I figured it doesn't necessarily help, but it shouldn't hurt?
What else do you do for your rig/cleaning/maintenance routines?
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what an engineering joke from the guys at RED.....
RED has engineers?
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Sensing that Jim's story might just kill this thread (who can possibly beat that?), I'll do my best to keep the ball rolling:
I had the pleasure of working on Parks and Recreation "The Final Season" a few weeks ago... and holy crap, I'm envious. They were on their 7th season, and as far as I could tell, the crew was as happy and fun loving as ever. I've dayplayed on other shows in their 4-5th seasons, and the routine of a "grind" often takes over. You quickly find that your spunky new guy excitement is quickly shot down by gruff, seasons-long exhaustion and repetition.
None of that happened with Parks and Recreation. For the scene I worked on, Aubrey, Chris, and Henry were talented and amazing. Director Mike was awesome, DP Tom Magill was a delight, and everyone else was equally fun to be around. I was amazed that, in 7 seasons, this crew clearly had never let "the grind" get them down. I hope to some day land a crew and a project like that!
As far as cool locations/moments, I'd say shooting Will Smith on the rooftop of the Galen Center (basketball arena on USC campus) was an interesting "Never would have guessed I'd be doing this in my lifetime" moment.
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Assuming the arm is fine and your vest is fitted properly:
In my understanding, a few simple things can cause big problems when it comes to seeing steps of the operator in your shot. Here's the short rundown:
- hips move in a "camel back" motion rather than maintaining uniform height from ground
- excessive weight shifting while walking (left to right)
- too strip of a grip on your gimbal arm and gimbal
- shifting weight while standing still
When you're still getting used to the weight of the rig, there's a tendency for the rig to "wag the dog" or "wag the operator" a bit. You gotta be the anchor, and the rig is the "kite" that soars around your body. Further, don't think of your legs as the solid pillars on which your body rests. Imagine your core/waist is the "solid core", and your legs are the springy suspension system that keeps it all smooth. In the end, your strength will match what the weight of the rig requires, and the steps will become less obvious. Smooth operator, smooth rig.
Your lockoffs will benefit once you get a handle on your CG and weight shifting.
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They told me the same thing; due to an unforeseen engineering/design issue, the monitor they made where they thought they could incorporate recording into a software update is incompatible with the function of recording. To offer that option, they'd literally need to make a different monitor almost from the ground up.
Conspiracy time: so SmallHD offered about 3 months of discounts and rebates on the DP7 and AC7 monitors last year. I'm wondering if they're clearing inventory to make room for a new (maybe hopefully) brighter monitor?
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I think some of the guys here can recommend an existing "steadicam accessory" to deal with drones, complete with stock, scope, and training.
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Robert hit the mark on a lot. One question for you Ryan: what are you trying to figure out? I'd be curious to know why you're pursuing such an interesting subject.
Just spitballing: the value of gear is a bizarre mix of utility and reliability. Brand new gear carries the cost of brand new gear, and I can tell you that something like a PRO sled really isn't marked up that much from their total cost of manufacturing (custom parts and assembly time). I would imagine the same with XCS? Those parts leave the facility after QC, and the sled can "do the job".
If we're looking at PRO sleds, I'll say this: I bought a PRO2 SD sled used as my first rig, and I still have some original parts on it. Other operators still have their original rigs. The durability of the product has proven itself, so the sled is still probably as valuable as a brand new sled (minus the whole "bought used" aspect expecting a discount on the premium of BRAND NEW).
I think rigs only lose their value when they don't necessarily facilitate the needs of a modern operator, such as buying a used EFP rig when you know you need/want an HD sled, maybe with 2 HD lines? However, amazing shots are still achieved every day with an old EFP rig, or a PRO 1, or a Tiffen Ultra. I believe that's why the Steadicam community often tells new operators to buy used; the fact you're getting a "discount" on a rig that "Does the job" is a leg up for making that initial investment.
PRO Arms used to sell used VERY fast, and I think they do still sell VERY FAST. However, I believe the used sale price dropped on the arms recently because PRO dropped the pricing on new arms.
I would imagine the cost increase goes from low cost to higher cost as follows:
Low cost used: "old" sleds, sleds by defunct manufacturers, sleds with QC issues, or sleds from questionable companies (or became questionable).
Moderate cost used: "previous generation" by the manufacturer sleds, sleds a generation behind the current offering by that manufacturer, etc.
High cost used: "recent" or "current" generation by manufacturer sleds, sleds still actively being serviced by the manufacturer.
When a manufacturer introduces a new sled, or someone introduces a new technology that is embraced, or someone introduces a cheaper iteration of new or current technology, the price drops very quickly. Like Robert said, the TB-6 used was once within 70-80% of the "brand new" price. Now, they sell at a fraction. PRO arms still sell instantly, but the price reflects the "used" percentage modifier on the "new" price.
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Congratulations to the new owner! Also: I think you just set a speed record for sale of a rig!
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I just have dreams where I'm late to work, or I've overslept and still need to load my car with gear. Anxiety dreams. Oh well!
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I was going to buy another 1650, but got up to eat lunch with the family first. Came back, and it's sold out. Damn it guys!
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Merry Christmas everyone! In 2015, may your days end early, your checks arrive on time, and your commute never make you late.
"I would rather be with the people of this community than with the finest people in the world." -"Roxanne"
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Teradek and NAB
in Video Assist and Video Accessories
Posted
Definitely words to live by. New stuff gets announced, and lots of new stuff hits the market within a month or three.