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Mark Karavite

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Everything posted by Mark Karavite

  1. Thanks Charles, helpful as always. Man, that DA is tiny! Very cool, and a great piece to add to the kit. Thanks, Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
  2. Hey Charles, I went to the VAC website, and they make a hundred different model DA's. Do you have the model number of the one you're using? Thanks, Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
  3. Charles, Do you have a heater for cold weather operation? MK-V integrated one into their Hummingbird Monitor. I know those Canadian winters get cold! Although Marell does make a decent frameline generator, I think it's a good idea to have one on the monitor. Besides being easier to use, what about those who already own a XCS or PRO level, and don't want to add another component to the rig. I think you might loose some customers without having built in framelines. Also, will it have image flip in all directions, zoom in & out? The panel seems very readable in daylight, how does it handle extreme low light situations? Try a 80/20 beamsplitter on a tap, 500ASA at T1.6 with the shot a stop underexposed, and see what you can see. I applaud further LCD development for Steadicam. I don't mean to be critical, just trying to add some input on features while you're in the R&D stage. Good luck, Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
  4. Dear Steve, Funny you should mention the NBA. I was just reading an article on how Vince Pace (of Jim Cameron 3D fame) is supplying 5 3D rigs to shoot the NBA Allstar Game in Vegas coming up. They are feeding a private 3D screening at the Mandalay Bay for the game. Anyway, the NBA is looking for ways to spice up their broadcasts, and why not Steadicam. I have done a few gigs for NBA Entertainment. Mainly, I have done pre game musical performances before the NBA Finals (Stevie Wonder, Carrie Underwood, etc...), then they hang onto me for the national anthem, and player introductions. After that, I handed the wireless camera off to a handheld operator, and went home. I thought that wasn't a great use of me, but not my call. I did shoot some game footage during the playoffs one year, but not to the extent that you did. One angle that they really liked was tracking with the play from the aisle, instead of on the sidelines (with the problems you stated). I would track with the play with a slightly longer lens, keeping the people in the expensive seats in the foreground of the shot. This was a few years ago in 4x3, so it would work even better in 16x9. This, of course, would be dependent on an arena having an aisle in the right place. I agree that the transition shots into and out of timeouts were very cool. I did have a coach yell at me because I was right in the huddle with the players, but I suppose that is something they could get used to. We also pulled a player from the tunnel, right out onto the floor for the pre game shoot around, and they loved that as well. I'm glad to hear you have taken this concept further, ala the success the NFL has had with sideline Steadicams. If the NBA is in fact going to utilize Steadicams, I imagine it would be for marquee games, playoffs, etc..., not every game. This brings up some issues we all should consider before the calls start coming in. First of all, rates for sports are very low. When I did the NBA Finals, it wasn't a great rate, but I had the caveat that I was double dipping off another day job, and I literally was there for about 3 hours, with less than 30 minutes of actual operating. What you were describing was a lot of rig time, certainly more than a commercial job. As operators, we should discuss what this kind of work is worth. The wear and tear on our bodies is worth a decent rate. Other issues like running rigs, focus pullers, union or non-union, wireless equipment (HD links & intercom), are easier to work out. If we can be on the same page for what Steadicam for the NBA requires, we all would benefit. My $.02 Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
  5. Hello all, Does anyone know where I can purchase Kipp handles. I seem to be striking out at the local fastener shops, and I need 2 for some stuff my machinist is making. Any leads would be appreciated. Mark Karavite A Camera / Steadicam Operator 248-618-9000 mkaravite@comcast.net
  6. Quote (CharlesPapert Posted Jan 12 2007, 11:14 AM) Hmmm, I thought I was trying to head off others from preaching to you. Oh well. No biggie. Dear Charles, I appreciate the thought, and your generous habit of supplying good advice on this forum. Mark
  7. Dear Brant, Who did you speak with at Anton Bauer? I asked Anton Bauer this very question prior to buying a new round of Dionic 90's a couple weeks ago. They told me that there was no PowerCube competitor on the horizon, and the Dionic 160's (along with their shipping nuances) were the only option. Do you have more specifics. Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
  8. Charles & Don, Thanks for the leads. Charles, you preaching to the choir. I've used Canatrans before, but I'm also looking at some of the 1.2G systems. I realize I need to buy something that is reliable, both in performance & support. Until I find exactly what I want, I still need my Modulus to work, and I'll hang onto it as a backup, or possibly to transmit UHF for all the sound men who still have receiver / monitors on their carts. Thanks, Mark Karavite A Camera / Steadicam Operator
  9. I just bought a slightly used MK-V Hummingbird monitor. When I plug in my Modulus, my video signal double terminates. If there is a termination switch on that monitor, I can't find it, and there's no information in the manual regarding termination. My sled: PRO DB3 & Upper J Box XCS post (w/PRO connectors) MK-V Hummingbird Monitor MK-V Nexus battery base I plan on contacting Howard, but I thought someone might know the answer. Thanks, Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
  10. Hello all, Does anyone know of another option besides CIT East for repairs on a Modulus 3000? I've had a video interference problem with mine from the start. CIT has had it back 3 times, and have not been able to remedy the problem. I can't afford to keep sending the unit to Maine, and loose it for 3-4 weeks at a pop. Any suggestions would be appreciated. Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
  11. Charles, Do you prefer not to fly the Genesis in 1 piece due to power, or weight, or is it both? I have not flown it yet, but I know the VTR "mag" weighs the same as a 1000' magazine. Although the overall weight is supposed to be close to an XL, I imagine being so backheavy could be a problem. Is this your experience? I was in Atlanta for the IA Central Region's digital cinema camera training last weekend. Al Mayer Jr. mentioned that a flash drive was in the works. That would solve both the power & weight problems. What run times are you experiencing with the Camera split from the recorder, and what batteries are you using? On another note, I spoke with Hugo last night, and he says you have a XMas present coming shaped like a new battery hanger. Let us know how you like it.
  12. Has anyone run a Genesis (with recorder on) off of Dionic 90's successfully? I am weighing Dionics vs. Power Cubes for new batteries, and this camera is high on the list of considerations for power. If the Dionics work, I can avoid new chargers & battery mounts. I have seen input on the Power Cubes, so mainly looking for experience from those using Genesis / Dionic 90 combo. My current sled is: PRO DB3 PRO Upper J Box XCS post MK-V Nexus base (with 3 battery mounts) I understand the Genesis's high amperage draw is potentially too much for the Lemo power connectors. I will put a call into GPI about this. Any input running Genesis on Dionics is appreciated. Best regards, Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
  13. In hopes that Anton Bauer may jump on the Power Cube technology bandwagon, I contacted them to see if they had any plans to make a similar battery with Anton Bauer mounts, and compatible with AB chargers. They have no plans to make a new high draw lithium battery, and pointed out their Dionic 160, which has a 10 amp draw limit, and shipping issues. The Dionic 160 must be labled as hazardous material, and shipped in an appropriate container. Even with the right case, I don't feel comfortable flying with batteries that any airline security person could refuse to put on my plane. I'm sure many of you, like me, are invested in Anton Bauer for mounts and chargers. This makes switching to Power Cubes a costly proposal. I know adapters are available for mounts, but after spending $$ on a rock solid rig with no vibration, is that a good idea? One can buy 6 Dionic 90's for $2400. 6 Power Cubes, 2 IDX VL 4S chargers, and switching mounts will come in just south of $8000. If Tiffen planning on at least making Power Cubes in Anton Bauer mounts, or will IDX batteries charge on current AB chargers? I'd love to take advantage of the new battery technology, but it's hard to justify the difference right now. Will this situation change in the near future, or will we be stuck with the price tag to switch to Power Cubes? Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
  14. Marathon #1 System of a Down "Hypnotize" music video: 6 cameras on rooftops, and 1 in a helocopter. I'm in the stadium concourse shooting the helicopter through a large bank of windows. As the chopper passes, I pan into the concourse, walk through the hallway, down the stadium aisle, onto the main floor and up to the stage as the band performs the song. With no grip to take the rig back to #1, we do this move about 12 times. Then we shoot a shorter version (still the entire song) starting at the back of the main floor & up to the stage. This is followed by another 6 hours of full mag takes of the song from various angles on & off stage. After about a 2 hr. break, we shoot an entire concert with encores. The bitch is they never used more than 3 or 4 seconds of any take. 17 hr payday made it worth while, thank God for a good agent that has you making triple time to ease the pain. Marathon #2 Saturn / Google web spots: Typical animated shot starting in space, flying down to earth, into a city, down a main street. The animation transitions into a live shot that starts in the parking lot of a Saturn dealership, through the lot, through the front door into a MS of talent delivering a line. These moves were about 200' long (again, no dolly grip to carrry the rig back to #1, I need to negotiate that into the next gig) and we did 15 takes on average. 400' round trip X 15 takes X 2 dealers a day = 12,000' or roughly 2 miles a day of operating. We had 10 shoot days on a 12 day road trip to 4 cities. Klassen harness made it possible, but man my legs were ripped at the end of that gig. It's not the "Russian Ark" but I need a drink and a hot tub just thinking about it! Mark Karavite Tired A Camera / Steadicam Operator mkaravite@comcast.net
  15. Hey Guido, That's a nice rig you have on your bottom battery on the Nexus. Mine 3rd battery on my Nexus runs on the bottom, right under the post. As I'm thinking of switching to an LCD, I'll need a bit more weight in the front, and your rig accomplishes that. Is it a custom rig, or did MK-V do that for you? Hey Alex, It seems like we both have been chasing the perfect sled case for years now. I ended up with an extruded aluminum case from Quantum in Toronto. I thought I was being smart in saving precious pounds with an aluminum case. Although it is much lighter than an A&J style case, and they did a fantastic job with the interior layout, what I neglected to anticipate is that aluminum, even extruded, will dent. In less than a year of travel, my case looks 10 years old. My AC calls it "character" but I think I'll have to buy a new case within a few years. If only Pelican made a case big enough for our rigs! Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
  16. The Chinese will copy anything, but it's obvious they fall short on many unique features that Walter has on his harness: - drop down arm - Duo harness - solid hinged or double clasped front door - contoured bottom of front door (for relief on front of hips) - sweet craftsmanship - awesome service and the coolest shop in North America Walter is an innovator, and an inventor. I think "you get what you pay for" definately applies here. Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
  17. Brandon, I agree that, for buying new, the BFD/M1 combo is a good choice for you. Also, I just saw a FIZ for sale on this forum's Classified For Sale for $3500. It's probably a MDR-1, but that unit was the standard for many years. That's the cheapest I've ever seen a FIZ (although it's not a complete system). You'd be happy with either choice. Erwin, My bad, I didn't meat to misquote the Preston price book. I haven't been in the market for a focus unit for a while, but a pal with a crane just spent around $32K on his FIZ. As you suggested, he has everything! I'd rather see a newbie have a reliable single unit for around $4000, if that was all he could afford for now. BTW, thanks for the info on the Backstage Klassen mount & battery shelf. Sig is setting me up with that stuff next week. It's a very nice addition to the cart. Fred, Who loves you man? BTW, I don't drink coffee, but I do drink alcohol! Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
  18. Dear Brandon, BFD's can be purchased directly from Jim Bartell at: Bartech Engineering 562-987-9159 office 815-364-5240 fax The M1 motor is designed to work in harmony with the BFD. The M1 is made by: Don Wetzel Palomar Engineering 406-862-4800 office You can buy both BFD and M1 from Bartech Engineering. Jim can package cables as well, or you can go to the best cable man in the business: Fred Davis Production Cable Service 626-794-1534 Although Heden motors have been around for years, I'd suggest the M1 in conjunction with the BFD for a great 1st unit. Palomar is soon to come out with the M.5 motor, a smaller version of the M1, and probably a bit cheaper. You may not need all the torque of the M1 for your sled. Alot of guys swear by the Preston FIZ, but you'd better have north of $30K to drop on that system. I've done several feature films with 2 BFD's, and most AC's love them. Here's a basic starter package to think about (for a single unit): 1 BFD focus unit including: - Transmitter - Receiver with antenna - Mounting bracket: Tom Gleason of Cinewidgets makes a great dual BFD bracket - plastic focus rings M1 Motor: - comes complete with rod adapters & every pitch gear out there Cables: 2 - sled to BFD power cables 2 - BFD to BFD power cables (even if you only buy 1 unit, this and the Cinewidgets bracket, will set you up for dual unit operating if you need to rent a 2nd unit) 2 - M1 motor cables 2 - Camera start / stop cables for any camera you might run. Don't short yourself on cables, buy 2 of everything. The worst feeling in the world would be to break a cable on set, and not be able to shoot because you didn't have a backup. FYI, someon makes a focus ring for the HVX-200, where you can do repeatable focus pulls on those funky little lenses. You can probably do a single system for around $4500, but don't quote me exactly. Call Jim Bartell, and I'm sure he can walk you through what you need. BFD gives great customer service. Good luck, Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
  19. I spoke with several agents before signing with Russell Todd a couple years ago. Some seemed very hard edged, and I didn't want that for my clients. Russell is very laid back, and a tough negotiator at the same time. Clients enjoy working with him, cause he's a great guy. For me, the best part of having representation is that I only speak with the clients about the creative aspects of the job. All the nuts and bolts of the business end are left up to your agent. Of course, you approve any deal before he books it, but you aren't the bad guy to production. I came into the arrangement with a good client base, and Russell has more than paid for his services by negotiating higher rates for existing clients, as well as bringing in new clients. The arguement I've heard from some that "why give 10% of my current clients to someone for doing nothing" doesn't hold true in my experience. Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
  20. I usually talk to the AC, and have him bring Dionics along with the camera package. Depending on your battery cage, either multiple Dionic 90's or the Dionic 160's work well in HD. I have a MK-V nexus base, so I can put 3 Dionic 90's on board. If you have alot of accessories on the camera, then you might want to put a Dionic 90 on the back of the camera to run AKS, but power the camera from your sled. I never put a Hytron 120 (or similar size battery) on the back of the camera. That setup makes a ridiculously long camera even longer, and adds a ton of weight on top. Some on board downconverters need to see a battery on the back of the camera to power them. In this case, I use an Anton Bauer plate that mimmicks a battery, and just use my PRO to 4 pin 12v camera power cable to feed power to the back of the camera. This little plate is about $80, and can save your butt. If you go with the small Miranda, you might not get HD-SDI out of that downconverter. Many DP's will request that you remain hardwired as much as possible. I usually request a downconverter that provides NTSC and HD-SDI, like an onboard Miranda. Fred Davis can provide you with a nice, lightweight BNC to run a HD hardwire off the sled, and it doesn't affect 80% of your shots. In the case when you really need to be wireless, you'll catch less grief from the DP, and he'll agree to allow you to transmit when you need it. It's a big advantage for the DP to be able to monitor HD while shooting, so I give it to them when it's feasible. Another advantage of the bigger Miranda is it outputs framelines, which I only use as a reference to line up my frameline generator. If you have a 4:3 monitor, you can select a 16x9 letterbox, and put your electronic bubble in the letterbox area. Most downconverts will do this. Returning to the power issue, I always suggest multiple batteries on board. With 1 battery, you will eat them up like crazy, and look bad when the camera won't roll right before a take, because of low voltage. Have the DIT set the camera's voltage settings to the lowest possible voltage before the camera cuts off. There is a menu that selects batteries, and another menu where you can set the cutoff voltage. DO NOT set the battery selection to AC Adapter. This will disable the low voltage cutoff (as the camera thinks it's getting a regulated voltage from the AC Adapter), and as the battery voltage drops, the camera will go into brown out, not turn off, and fry the mother board. I've seen it before, and it's not pretty. As the Director of a HD feature called it this summer, HDelay! I'll take an Arricam LT over any of these elongated power pigs anyday. As a wise man once said, long and slender is a good attribute for a female companion, but not for a Steadicam body. Like it or not, they are here to stay, so be prepared. Best of luck, Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
  21. I too tried to find Jim Bartell's ICBM, but unless you can find someone selling a used one, they are no more. I have Wolf's Battery Watcher in line for my Proformers, which don't have a gas guage. I never get caught without enough juice to do a take since. I think it's around $100, and you can easily wire it into your battery mount. It's light enough to mount to the side of my battery base. As a bonus, it sits opposite my electronic level, so in theory helps center the weight for the search for perfect dynamic balance. Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
  22. Does anybody know what frequency the wevi transmits on, size, weight, etc... ? Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
  23. Hey Jamie, Great assessment of the Silver Spring arm. I have owned one for 2 years, and it has served me well. Like you, I have private schools and college to think about. When I built my rig, going with 2 BFD's (instead of a FIZ) and Silver Spring (instead of a PRO arm) saved me a boat load of money, without loosing capabilities. If I really need a FIZ, I rent it. I had been flying a 3A arm for 12 years prior, so I was used to the feel. Besides having a wider weight range (both higer and lower) the modular aspect of the arm is great. I just had mine apart this morning, giving it a good cleaning after a tough location. I had the whole arm apart, cleaned, and put back together in about 45 minutes. Besides the quality, you couldn't ask for better support than what Hugo gives. He goes above and beyond to address any issues you might have. When I see used 3A arms on the market for $7K or $8K, those buyers should take a serious look at the Silver Spring arm for $10K. Of course, it's not a PRO, and you don't have backup cartridges ready to go, but the arm is bulletproof, and well worth the $$. I'm going to have to ask Hugo where the T shirts are. Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
  24. During my interview for "8 Mile", Rodrigo Preito AMC, ASC complimented my reel. He followed by saying my moves were too nice for this movie, and would I mind if he asked me to "dirty up" my operating. What a gentleman! How many of you were asked if they could ask to degrade your operating? As we discussed further, his reasoning made perfect sense. The entire film was to be shot handheld, but longer tracking shots may be too distracting if shot handheld. The idea of using less than perfect Steadicam to match very good handheld worked well. He never wanted to draw attention to the camera, and a change in feel between a tracking master (on Steadicam) and coverage (handheld) would not do. The technique I used was simply to tighten my grip to avoid a perfectly stable frame at the start or end of a move. We did many long master shots, and as I came into a static position, I would simply tighten up the grip. We developed a scale from 1 - 10, 10 being a total gorilla grip. Rodrigo would politely dial me up and down depending on the scene, "give me a 7 please". Now I've been there when the coked up music video director tries to manhandle your rig for an effect. "8 Mile" was a situation where the concepts were very well thought out, and degrading the Steadicam was right for the film. Although it's not the best work technically on my reel, it still gets me work to this day. Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
  25. Mark Karavite

    Nexus

    I have been flying a Nexus base for over 2 years now. I love the ability to use different batteries. I can have 1, 2 or 3 batteries on. Dionics, Hytrons, Proformers, Pro Pacs & Trimpacs, they all fit easily, and it's very quick to change configurations. The recorder output has variable voltage, so you can cable directly to just about any on board recorder. I have used the Nexus on numerous features and commercials, and I haven't had any problems with the adjustable base moving. I ended up adding a battery meter for the lower battery mount, where I use Proformers, since they don't have guages on them. Also, I wasn't a fan of the 4 stage post, only because it didn't get short enough for my liking. It was very rugged & stiff, and nice if you do a lot of super post work. I went with an XCS 2" post & gimbal, and have been very happy with that. I can't speak for the rest of the MK-V system, but the Nexus base has been rugged, reliable, and versatile. Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net
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