brooksrobinson

Lentequip makes them as well: http://lentequip.com/products/easy-bracket I have the Klassen version so I can't speak to this one, but if nobody comes through, this might do the trick. Brooks

I'm wondering if anyone in the LA area knows of a great Mac/Final Cut Pro guy...I am sadly not that guy. I have an issue with FCPX and I am not sure if it is a software/hardware issue, or has to do with two Disney movies I needed to use 3rd party software to rip. FCPX has worked great for me until now, but since adding the two films, I get the spinning rainbow ball of death instead of a curser whenever I open the program, and the only way to get rid of it is to quit the program or shut down the computer I am terribly illiterate with anything computer based, so the ideal situation would be to find someone I could pay to take my computer and figure out what is going on before I throw it in the garbage. Thank you in advance for any possible help. Sincerely, Brooks Robinson brooksontheroad@pacbell.net

Apologies for my last post - I actually know how and when to use apostrophes, but for some reason they didn't make the journey from my word processing program when I cut and pasted my post. Sorry...I look like enough of a dope on my own that I don't need technology to conspire against me as well. I hope there are more stories to come - GREAT thread! Brooks

Great thread Beau!!! I dont think a lot of operators out there these days realize what a process it was back in the day. Gear wasnt built like it is now - it would break, and always at the worst possible time. There was really only one steadicam company (Cinema Products), and they werent that great. You needed to be self-reliant, or, failing that (like me), have a lot of friends willing to help with gear, as well as one or two shady electronics wizards who would be willing to come to the set all hours of the day or night to get you back up and running. This was WAY before the internet, so there wasnt any equipment reviews or online forums to ask questions about various cameras and equipment - it was truly the wild west, and you were on your own. I took my Calamigos Ranch workshop in late 1992 at the ripe old age of 23, after coercing Chuck Jackson that I knew enough to attend class (I didnt), despite being a PA at the time with no prior operating experience. During the week-long workshop (co-instructed by Peter Abraham) I met a fellow operator who went on to be one of my best friends, Steve Adelson, who owned a tricked out CP Model 2. He had stopped by one day to see the newbies running around like fools (me), and I talked to him at length about his sled which was really, really cool. The 3A was the ticket at the time, but this sled of Steves was much slicker, and looked like a formidable machine. Id never seen one like his, and I desperately wanted one. After my workshop, I was totally addicted to all things steadicam. I talked my father into using the family house as collateral on a co-signed loan to purchase my first rig. I had absolutely no experience as a camera operator, and was running on pure adrenaline and youthful foolishness. My father wanted to support me and believed in me though there were times when that belief and trust were pushed to the brink in the first two years of ownership when the phone wasnt ringing. I really dont recommend this strategy to anyone out there reading this that is thinking of taking a similar leap of faith. It almost cost my Dad his home, and it was sheer luck (and a little skill) that I survived the first two years and went on to eventually do some decent work with talented professionals. When I finally had the funds from the bank in place to make a go of it, I found an ad in the back of American Cinematographer that Derek Whitehouse had placed offering a Model 2 system for sale for $16,000, and I purchased it sight unseen. It had been sitting in a closet unused at a college before making its way to Derek, and was pristine though I didnt like the original two thin post design. Before I got a chance to use it, I took the sled to Bob DeRoses shop and put another $12,000 into it trying to duplicate my friend Steves sled extendable post with cables up the center, 3A gimbal, Donkey Box 1, Anton Bauer battery mount, etc. It was cool as shit, and I daresay, better than my friend Steves, with bitchin blue anodized aluminum everywhere. While the sled was at Bob's for two months (it felt like much longer), my arm went to Chuck Jackson so he could put gold springs in the arm and remove the hinge so it would articulate. I believe I paid $6500 for that mod, and I later learned that Robert Luna who did the actual work got boned on the deal and made almost nothing. Based on a conversation with Dan Kneece (who was pivotal in me getting into the steadicam field) I picked up a John Russell eyepiece tap for Arriflex cameras with a Watec camera. A few months after purchasing it, there was a problem with the optics and I took them back to John to be looked at. We got to talking and at some point, he asked me about my rig. I made the mistake of telling him that DeRose had done the mods and he freaked out. John and Bob were apparently having a disagreement about something and John grew angry and kicked me out of his shop. I didnt dare call him until the next day, when he asked me to come back so he could give me my repaired tap. He was still worked up, but apologized for his actions. I also had a lot of fun trying to acquire a Seitz follow focus. I cannot for the life of me remember the guys name, but I was told every single lie in the book in reference to my order: we are waiting for a part - it has already shipped - Ill get back to you with the tracking number - sorry, it didnt ship after all because we are still waiting for the part - it will be ready to go next week for sure. This went on for 4 bitter months before it finally turned up and I could go to work. That sled flew true and was awesome. Now that is not to say there werent serious issues. There was video interference problems when flying an Arri BL (or similar) where youd have to wrap the 3 watt, totally FCC illegal Steve Byro transmitter in tinfoil so you could see an image on the 2.5 inch or 3 inch green screen monitor though the glowing green fog. That is not to say you would not cross your fingers every time you pushed in the breakers and turned on the monitor, as it did not always turn on. Because of this, I eventually bought another hot-rodded base with an Anton Bauer battery mount from Joe Broderick so that if my electronics ever caught on fire (I think Rick Davidsons did while on a job in the Philippines or Thailand), I could swap them out. I got lucky with my Seitz in that it did not require two sets of marks on the wheel (on set of marks for turning the knob away, and another color set of marks for turning the wheel towards you) like a lot of them, but it was still finicky and required quite a few late night visits from the infamous Steve Byro who could be your best friend or worst enemy depending on many factors totally out of your control. He still owes me a lot of money for something I paid for and he never got around to building, but at least he didnt steal my sled as he did with another operator - allegedly. My total initial outlay for equipment was $60,000 sled, vest, arm, follow focus, transmitter, eyepiece tap, cables with back-ups etc. It was a great set-up for the time, and rivaled in my mind anything out there. Of course my operating was years behind at that point, but it eventually got better too. I eventually sold my sled to (then) 2nd AC Jerry Patton. It was a coup because at the time CP wasnt selling arms or vests because they had just lost the patent on the sled (or maybe gimbal) and Pro was starting to sell sleds. It was nearly impossible to sell used sleds unless you sold the entire system - which did you no good if you wanted a Pro sled, as you then couldnt get an arm or vest. Jerry had managed to track down both a vest and an arm, and I was able to sell him my sled. A win-win. Things got much easier and less exciting (meaning things didnt tend to break) when I purchased the Pro. I didnt need to cross my fingers any more as the technology was well thought out and wasnt reliant on crazy voodoo electronics to power the system, and electrocuting yourself was no longer a valid threat. Please keep this thread going it is good to hear the stories

Both monitors have sold. Thanks for the interest. Brooks

Thanks for all of the solid advice. I have one last question. Is the 4 pin XLR power cable the same one (wiring etc) as an old school 12V Arriflex camera (Arri 3, SR2, BL etc)? I'm sure I'll want to fly the camera with an on-board battery, but it would be nice to also have it power from the rig so the on-board battery can be switched out without losing power to the camera. I just want to make sure the wiring is the same before plugging one into the camera. Thanks again to everyone who took the time to contribute. Sincerely, Brooks Robinson

The first monitor has sold. Still left for sale is my backup Transvideo Cine 3A Super Bright monitor which has seen almost no time on set. The screen is terrific and it will perform at a high level for years to come. As mentioned above, it comes with a removable Anton Bauer battery back and a Transvideo frameline generator. I'd like to get $700 for it. Please email me directly or PM me through the forum if you have any questions or would like to see further photos. Thanks for all of the interest. Brooks brooksontheroad@pacbell.net

I am selling two Transvideo Cinemonitor 3A Super Bright (SD) monitors with matching Transvideo frameline generators. Both monitors come with the cables to connect the frameline generator to the monitor (power and SD signal), and a mounting bracket that attaches to a standard Pro spud (not included). They also come with matching Anton Bauer battery backs to power the monitor (no batteries are included). The power connector at the back of the monitors has been modified to the Pro standard 8 pin Lemo (no power cables are included) and it is wired to do both power and SD video if your sled and cable allow it. One of these was my primary monitor since 2007, having shot such films as Tropic Thunder, Ender's Game, and Iron Man 3. There are the usual signs of wear on the body of the monitor (mostly from Velcro), while the screen has a scratch, several dings, and a fog - though none of these affect performance when the monitor is turned on. I also believe that the scratch, dings, and fog are on the anti-reflective film, though I'm not 100% sure. Again, none of these affect the performance of the monitor. The other monitor has been my backup since 2007, and has seen almost no use. The screen is perfect and the body of the monitor is in very good condition. If you are in the market for a good used and inexpensive standard definition monitor for use with film cameras or HD cameras (in conjunction with a downconverter (not included)), these are worth a look. They have performed well under a wide variety of filming conditions and continue to work without issue. I'd like to get $500 for the monitor/frameline generator/battery back with the scratched/dinged/fogged screen, and $700 for the monitor/frameline generator/battery back with the terrific screen. Please send me an email or PM me through the forum if you have questions or would like to see more photos. Thanks in advance. Brooks Robinson brooksontheroad@pacbell.net

Thank you for all of the interest...both monitors have sold. Brooks

I have two Cinetronic Gen 2 monitors for sale. They are just over a year old with very limited use. They have been on only two shows since I purchased them new (Intelligence - for Fox Television, and the new Fantastic Four movie reboot - also for Fox) - neither show used much steadicam. The monitors have just been checked out by Chris at Cinetronic, are in good working order, and have the latest updates. Both monitors come with Michael Kramer (of Keslow Camera) spirit levels, Cinetronic yokes, and one 8 pin lemo to 8 pin lemo power connector (this cable also provides SD video for film work). I would like to get $2250.00 US for each of the monitors. Please email me directly or PM me through the forum with any questions. Thank you for looking. Brooks Robinson brooksontheroad@pacbell.net

I did a forum search and didn't come up with anything other than what monitors the camera may or may not work with. I might have an upcoming job in about 7 weeks with a Sony F55 out of Panavision WH, and I've never seen one before. I have several questions: * What kind of power cable does it use? New ones, or the same as the F23/F35? * What kind of run/stop cable does it use with a Preston MDR2? Is it the same as an existing camera, or something new? * Does it have a good place to put a dovetail plate on top of the camera for going low-mode old school? I'm sure there are holes on the handle, but has Panavision made a cheeseplate or something to allow mounting the dovetail closer to the CG of the body? * How does the weight of the camera differ from an Alexa? * Any issues using either a SmallHD DP7 High Bright or a Teradek Bolt 2000? * Anything I should be aware of working with this camera? Quirks or issues? Thank you in advance for any possible help. Brooks Robinson

I'm wondering if anyone is using Matthias's (cam-jam.de) yoke with this monitor. I'm going to be picking two of them up, and wanted to see if anyone had a photo of the yoke in action with the SmallHD high bright, so I could see how much clearance there was between the bottom of the monitor and the yoke. I'm trying to get Michael Kramer from Keslow (who built the great Cinetronic spirit level for John Joyce that was recently talked about on the forum) to modify his spirit level to work with this monitor and wanted to see if there was room to have it mounted at the bottom of the monitor, as that is where I have gotten used to viewing it. Please post photos here if you have any, or send them to me directly (email listed below). Thank you in advance for any help. Brooks brooksontheroad@pacbell.net

Does anyone make a rain cover for the SmallHD high bright?

I am thinking about making a monitor change to the SmallHD high bright. My current monitors are Cinetronic Gen 2's, so please use that for comparison. I'm interested in: * The daylight view-ability of the SmallHD - both with and without aftermarket anti-glare film (does the film help?). * The best way of mounting the monitor (either yoke or spud) to my XCS monitor bracket rods. Who makes the best bracket or yoke? * How would I get an SD signal to the monitor (this seems to be an issue?) in the event of a future film job? * Does the monitor have user adjustable framelines or preset ones? Can you adjust the color or texture (just solid lines or can I make the lines broken or dotted)? * Has anyone modified the power connector on the monitor to a more robust Lemo (it looks like a Hirose)? Is it possible? * Does anyone make a rain cover for it? Who? I'm also looking at the newer Transvideo 6" 2000nit monitor, but at over twice the cost (I'd be buying two, so $6000 vs $14,000), I think I'd be more willing to give this monitor a try first unless there is a compelling reason not to. If it doesn't stack up, I can always send it back, or buy the TB7 when it is released. Is there anything I need to be aware of before going forward with the SmallHD? Any other monitors I should be looking at? Ultimately, I need something that will stand up to the rigors of working on large-budget feature film sets, with a menu that I can easily figure out (without an engineering degree), and an image I can see while shooting outside. Is this the right monitor for me? Thanks in advance for any comments - either positive or negative. Sincerely, Brooks Robinson brooksontheroad@pacbell.net

Thank you Victor for the info. I really appreciate it. Brooks

I have a commercial with it in the next few days. Are the power and on/off cables the same with the Dragon as they are with the Epic? Thank you in advance. Brooks Robinson

Thanks James. I did buy the handwheel you linked on Ebay as a backup, but I still need a new/used thumb knob (or two) for the pan/tilt wheel to replace the damaged one. Thanks for any assistance. Brooks Robinson

One of the handwheels on my Arrihead 1 was recently damaged on the feature I just wrapped. One of the little spuds you hold with your fingers while turning the wheels was bent/damaged, and it now doesn't rotate smoothly (again, just the spud, not the handwheel itself). Production will be paying for a new one, but whoever is in charge of this department at Arri in Germany is out of the office until September. While I can wait, I was wondering if there was anywhere else I should be looking to find a replacement (even a used one). I've attached a photo since my description was underwhelming. Thanks in advance. Brooks Robinson

I just took delivery of two (one for each of my Cinetronic 2 monitors) of Michael's spirit level brackets. They attach via two included screws into the top of the monitor, and the fit is good with no play. The spirit level adjusts/pivots with one locking screw in front, and I made sure to "sync" it with a spirit level on my dovetail plate before locking it down (I plan to check it periodically to make sure the monitor or level hasn't moved - thus making the it inaccurate). The unit is more robust than the pictures on the forum indicate and the level is larger than I imagined - both good things. It is well made and works exactly as it should. The build quality is very solid, and it is an excellent value for the price - highly recommended for owners of the Cinetronic 2 monitor.

I have the same wheel chock as Jens. That is certainly the easiest, least expensive, and most effective way to stop your cart from rolling, short of buying another cart. Mine was about $25 through a local LA grip. I'm sure you could get one made up from your best boy grip for free next time you are on a show. I've seen them made out of both wood and metal (mine is metal). Simple, inexpensive solution that you can leave on your cart until needed. Good luck. Brooks

I'm having tremendous success using my 2000 since I purchased it three months ago. I've been on a feature since then, and while we haven't done too much steadicam, what we have done has been quite ambitious from a transmitter/receiver stand-point. Shooting through multiple concrete walls hasn't phased it, and the only thing I would like to see improvement on (and I've been told by Mike that it's already happening/done) is a faster reconnect time should the signal be lost. Aside from that, no complaints at all, and I'm very pleased with my purchase. At roughly half the weight and cost of a Boxx, and at least as much signal strength (my humble opinion), there isn't much to improve on. Brooks

All motors are now sold. Thanks for the interest. Brooks

I still have one Preston DM-1 motor for sale. I'll lower the price to $1300 for anyone still on the fence. I've had a lot of people inquiring and looking, but no takers yet. Thanks. Brooks

I'm not sure what the issue is Eric. I'd be upset if Greg took my money up front and then continued to push back the delivery date, but that hasn't happened. I'd be even more upset if he adopted the ways of his competition, and delivered a monitor that had inherent flaws in programing and functionality, had poor customer service, and a menu that is as non-intuitive as possible without a manual (not offered or written). Then I'd be upset. Greg is one of the good guys in this small market of vendors, and if he needs additional time to make it right before delivering his monitor, then so be it. All that means to me is that I'll need to wait a bit longer to sell the two monitors I purchased from another vendor last summer that never lived up to their inflated hype, and have since lost almost half of their value in 10 short months. Brooks

I believe both DM-2 motors have been sold. Both DM-1 motors are still for sale, though there have been several enquiries. Thanks for looking. Brooks