Matt Petrosky

I was over at American a couple of months ago getting some replacement o-rings and stuff and the owner (his name is escaping me right now) was showing me a new black coating that they are using or testing for use. It's not quite as textured, but I guess it's actually thicker and supposed to be more durable. Who knows?

The black powdercoat finish isn't nearly as durable as chrome but it is worth the trade off. Spray exposed metal with corrosion-x every once in a while and you won't have any troubles with rust.

I was over at American a couple of months ago getting some replacement o-rings and stuff and the owner (his name is escaping me right now) was showing me a new black coating that they are using or testing for use. It's not quite as textured, but I guess it's actually thicker and supposed to be more durable. Who knows?

I also have a pair of amplified Peltor ear protectors, and I second Eric's recommendation. Mine are great for steadicam but are a little too wide for hand-held and some studio configurations. As Eric said, they cut out loud noises above a certain decibel level, but allow you to hear people talking in a normal tone. They are great to have in the kit for pyro gags or full-load gunfire scenes.

 

While we're on the subject of ear protection, does anyone know of something low profile that would work for gunfire or explosions in hand-held mode, when the camera body is right next to your ear? Maybe the small ear pieces Chris brought up would work for this, but I was hoping for something that really cut the noise level substantially. Thanks.

 

Brooks Robinson

Hey Brooks, I've had great experiences with these:

Pro-Ears Predator Gold Black

They are not cheap, but they are about as low-profile as you can get for ear-cup style protection and their technology is tops--their system doesn't clip out the audio during noise spikes (read about their technology here). Each ear-cup has it's own circuit board and independently adjustable volume level, mic gain, and speaker level. Each ear-cup also has a 3.5mm jack which is convenient if you need to hook your headset into a Comtek or radio. I have a couple pairs (different profiles/styles) that I've been using for shooting and shooting film, and they have held up well over the last three years. You can also convert these to a behind the head strap like the Peltors. And they are made in the USA.

The only downside is that they run on "N" size 1.5 volt batteries, which are not a common on-set size. Email me off-list if you want to borrow them to try them out. I'm not in LA now, but I can easily have a friend pull them for you. I've used them fine with Platinums and XLs handheld, but they do bang into the side a bit. I think only an in-ear design would completely avoid this.

-Matt

As far as I understand, this a purely a cosmetic issue?

This is not how I understand it, at least with the Dionic HC's I believe that when they signal this mode they shut down to protect the battery from cross-charging. And a properly specked high-grade diode is really unlikely to fail. Sure it is possible, but as far as components go, low on the list. And if it fails it's an easy field swap or bypass. The reality is that a lot of today's cameras are HD and they like the newer chemistry batteries. Simplicity is great, but not when it comes at the high price of unreliable compatibility. I tried running a couple of HD cameras from my HC's before I put the diodes in and one battery would almost always shut down. I was surprised by this since I did six months with a Genesis (fiber, not the deck) and used two Dionic 90's put in parallel via a Cam-Power & Aux-Power Y-cable before I installed the diodes.

-Matt

I hope you get it all worked out. I agree with Doc about checking the pins...or popping off the jumper block and testing the banana plugs against the schematics. Pretty wierd though.

 

I mentioned earlier that Terry put the diodes in mine -- to update, still working great and no flashy battery meters anymore. I've flown nothing but the f-35 or genesis for the last 2 months (only once with deck), no issues except the camera/deck combo sucking my hc's dry like my 6 yr old sucking a juice box inside-out!

 

rb

 

I'll check them again, but like I stated, I watched Jack check every pin in every possible configuration and it showed the exact power I was suppose too.

Like everything was working, A-okay.

But as soon as we plugged in the Y cable (1 into camera power, 1 into Aux power) the top Aux battery would start to flash, and this was without a load on it (no camera, nothing).

 

But if the diodes are wired incorrectly there should be no power correct?

Is it possible the diodes just aren't working at all even though they are wired in to the gold mount plates?

Maybe check to see that the diodes are all on the positive leads from the A/B plates, if one is on the negative and one is on the positive this could be a problem. Or perhaps one diode is bad and lets voltage back-flow, a multi-meter can check this if applied to the diode's leads. Also maybe one of the plates never got a diode installed. I've made simple mistakes with a workbench full of parts and wires. If you get distracted it's easy to loose track of what you did or didn't do.

And like Doc, I am curious to know if the 12V jumper block would work for a Y-cable between the Aux and Cam power and solve this problem while utilizing both post wire runs.

Keep us posted.

-Matt

Keep us posted.

The gimbal yoke depth for the arm post is 38mm, if thats what you mean...

Not that this needs confirming but I have my caliper handy... yes, 38mm is the depth.

-Matt

Thank you Eric for bringing the phrase "moot point" into question as it led me to research that a bit--generally I enjoy etymology more than discussing the finer points of Steadicam. Looks like you are referring to the one-time more prevalent use of the term as meaning "debatable or subject to debate", but it appears that over the years the usage "irrelevant or not worthy of debate" has become so widespread that this has become the accepted definition, or at least appended. So I think we have to give Mike a pass on this one. I personally think that any definition should cite Rick Springfield as the definitive example of the term "moot"; probably one of the best lines ever in a pop song, especially when rhymed with "cute".

Charles my friend, you are a genius...

From the Oxford University Press:

Garner's Modern American Usage

The adjective moot refers to something that is debatable or of no practical importance.

Example:

• The court ruled on Thursday that the appeal was moot because the hostile offer had been withdrawn.

Usage Notes:

• "A moot point was classically seen as one that is arguable. A moot case was a hypothetical case proposed for discussion in a 'moot' of law students (i.e., the word was once a noun). In U.S. law schools, students practice arguing hypothetical cases before appellate courts in moot court.
   
  "From that sense of moot derived the extended sense 'of no practical importance; hypothetical; academic.' This shift in meaning occurred about 1900 <because the question has already become moot, we need not decide it.> Today, in American English, that is the predominant sense of moot Theodore M. Bernstein and other writers have called this sense of the word incorrect, but it is now a fait accompli, especially in the set phrase moot point. To use moot in the sense 'open to argument' in modern American English is to create an ambiguity and to confuse readers. In British English, the transformation in sense has been slower, and mootin its older sense retains vitality."
  (Bryan A. Garner, Garner's Modern American Usage, Oxford University Press, 2003)
• "Moot in British English means arguable, doubtful, or open to debate. Americans often use it to mean hypothetical or academic, i.e. of no practical significance."
  (The Economist Style Guide, Profile Books, 2005)

Hey Matt,

I gave Jerry Hill a visit today and got the pieces you mentioned (two 2" gorelock forks, one 2" dock ring and one 1.5" id 2" dock ring). I'll let you know how it works when I use it on Monday. It allows you to get the gimbal about 5/8" higher than you can using a dock ring under the post locking ring. Here's a picture showing the gimbal back to the pro1/xcs ballpark.

 

the only bummer is the size of the new larger ring on the post for low mode...it seems to be almost the size of a dinner plate -- but it may add some lift or at least whistle during fast moving shots!

 

here are the 1.5" and the 2" next to each other:

 

rb

Thanks for the picts and testing this out Ron!

Oh, and last thing we need is a Lisagav-free sausage-party, but it would be fun to see you run over stuff with your Humvee!

-Matt

Brooks,

So you got the Dionic HC's? Thoughts?

I realize I'm a little late to this, but I did a job last year where we shot with a 435 at 120fps pretty much all day, mag after mag (actually there was a little 60fps in there too). I have a PRO and was running three Dionic HC's (one for the monitor), and they really impressed me. Not only did they have zero problems, but I only changed the batteries out once or maybe twice in the morning madness and the same for the afternoon. Quite an improvement over my old HyTron's and Proformers.

Ron, I haven't balanced them to quantify the side-to-side weight difference as compared to a Dionic 90 or HyTron 50, but they certainly don't stick out enough on either side to bother me or hinder operating. And the Steadicam Gods smile favorably as dynamic balance is still achievable.

-Matt

Nice work Mike, and as you know, sometimes the experience of the shoot is as much, or more, then the actual shoot.

I am curious though, do you have stock in a company that produces white athletic pants? I suspect you are the majority share-holder of White Pants Corp. because you are pictured, more often than not, sporting them. Haha, just messing, I know it's sunny in Miami and it is essential to have a unique steadi-op look so that you can easily be spotted in behind-the-scenes stuff. ;)

Thanks for sharing,

Matt

Apologies if this has already been posted, but I searched and couldn't find it. Also this is a new YouTube posting as of yesterday.

Pretty sick (as in awesome) music video. As crew members and steadicam operators we can all appreciate the amount of time and energy that it would take to pull this off as well as they did.

Hopefully the operator is on this forum and will discuss the experience a bit, it would be fun to hear about.

Watch it full screen and around the 2:30 mark you can see the operator's reflection in the large silver ball. I am sure this was an intentional tip of the hat to a job well done from the band to the operator. Well done!

Enjoy,

Matt

And the 1000th post for Mr. Ron Baldwin!

Somebody get the man a scotch.

Sounds like this could be good for PV in the long run, shedding some of that debt Perelman dumped into it years ago. Higher-ups at PV seem to think William C. Bevins is running it well and making good decisions. We shall see.

-Matt

Irvine Landlow

I think I worked with her once! Cool. :P

Cases4less.com

I've ordered a lot of Pelican Cases from these guys. They'll beat any advertised price by 5% and ground shipping cheap and usually one day to LA. They also stock just about every Pelican case, standard colors, and most accessories.

-Matt

since the post locking rings on the pro2 are 2" in diameter...has anyone put a 2" gore-lock dock ring onto this knurled ring to be able to get the gimbal higher? I thought George had mentioned this locking ring was designed to be used as a dock ring in his docking bracket. I know it will only allow the gimbal to move up an extra 1/2" to 5/8" but that translates to 1.5" less post extension without adding weight.

Thanks for pointing this out Ron, I never measured and therefore never realized that the post locking rings are 2" in diameter. The only problem, other then cosmetic scratches, I can see would be what Alec mentioned, where the constant docking would slowly work the locking ring loose. Perhaps if the Gorelock ring were clamped tight and oriented in a way that you had a reference point, any drifting from the reference point would be noticed. Of course you could make checking this locking ring a regular habit, which is good to do from time to time anyway.

FYI, the PRO locking ring is designed to be docked on directly with a standard PIP-pin dock and the low-mode docking ring is built into the new post.

So for me to switch over to a 2" ring setup I would need at least one 2" post 2" Gorelock clamp, one 1.5" post 2" Gorelock clamp, and two 2" Gorelock forks (one for the cart). Hmm, let me know if you try this and if it works out Ron.

-Matt

as an informative note, it's not well publicized that you can order the Camwave with either v-mount or gold mount (Anton Bauer) plates on it. All of the promo pictures will have v-mounts, as that's what the manufacturer (IDX) uses, but they make it both ways.

Good to know, thanks Charles.

Same as the XL, the two pin hermaphrodite Lemo. Depending on lens, generally heavier than the SR3 in most configurations. Probably the heaviest 16mm camera in modern times!

What Charles said.

Excellent Mike! Cool pict and well played!

-Matt

A lot of great points here. I agree with Chris, we need to discuss this sooner rather then later. And Ron is right, when economic times are better, rest assured that the producer's belts and budgets will NOT be loosened. And everybody is correct--this is a very pubic forum.

While negotiating with a producer for a job earlier this year I was literally told, "Well if you won't do it for this [rate/rental] I can easily get another operator, a good one with a good resume." I was really stunned. But I stuck to my guns and as a result didn't get a call back... until a few days later when the job had increased from one to two days and they "found" the "extra money" I needed. I really thought I lost it though and was prepared to. I don't mind doing favors for close friends, but nothing feels worse then being taken advantage of by a production with the means to make it right.

Alfeo, not sure about the legal implications or where the line is drawn. I would assume there is a difference between us cueing each other in, and a hard-list of numbers for a select group. Of course the producers talk with each other about our rates and what they are paying for us. I know because they have told me as much.

This time to discuss this is now.

Best,

Matt

P.S. I am not a fan of Facebook, or any of the social networking sites for that matter, perhaps meeting in person (obviously this doesn't work for everyone), or using another site that is not heavily data-mined would be possible.

I have an AV400 with the multi-pin cable/adaptor that can be wired to a Lemo for use on sled as recorder. It's not the 404 (I don't think). I never got around to modifying it and I never use it.

I'll send you an email with the details.

-Matt

Hey Alec, I think Charles is referring to some sort of intermediary place for his batteries, not the chargers and not his actual sled. Maybe a custom holding box for the cart or stand? Although I could be wrong, Charles has modified his modified sled every time I see him.

As for the HC's, I too have had them for a couple months now, I am very happy with them. They fit both of the rear positions on my PRO II battery rack (with recorder mount installed) and they now fit the front position after relocating my XCS level. I ended up having Jack tap and mount it directly to the top half of my battery rack. I'll take a picture tomorrow if you want. This new position actually gets the level closer to center and it's slightly easier to reach the buttons. Only down-side is that it has to be removed to access a couple of the screws that hold the top and bottom of the battery module together. Not a big deal since how often does one really open this up?

The Dionic HCs are simply piece of mind. The first job I had with them was a commercial with a 435 running 60-120 fps all day. After awhile the ACs and I just stopped thinking about the batteries. For HD hogs like the Genesis, they are good too, but I feel that an operator would need a ton of them to make it though a long day, too many for an operator to practically own. So as before, when doing HD I get additional batts from he rental house. I've never had an issue with that.

I should also mention that Paul and Kyle and everyone at Anton/Bauer is and was super-helpful in making the transition to these new batteries. They made sure that my chargers got updated and serviced and were really on top of it. Great Steadicam Operator pricing too! Anton/Bauer is one of these select companies that makes top-quality gear and backs it with stellar service.

-Matt

3-pin fisher or 10-pin lemo?

Doubt it. If I remember correctly is the same deal as the Genesis, some crazy 10 or 12 pin in a 1B Lemo.

Thanks again for all of the interest.

Everything has been spoken for. The Hytrons are sold pending payment and pickup. Again, if this falls through I will update the thread, but for now all is taken.

Thanks much,

Matt

Maybe a quick fix is to fly the GADC (Genesis Advanced Down Converter) on the top mag port and use that SD output. I've always had good results from the GADC and fly it any configuration: SRW, SSR, and Fiber. It's light, requires no cabling, and has virtually no latency.

Keep us posted.

-Matt