Tom Daigon

If you own a steady rig with a gimbal and have come to this forum looking for information or answers to questions, you are in the wrong place. This site is for professional Steadicam operators only. If you are looking for a site more appropriate for your rig then I suggest you check out https://www.facebook.com/groups/1406996236899300. It is intended for professionals and hobbyists using the "Minity" kind of rig.

Yes and the context may not have been apparent to those of us using a different work flow (due to the wide variances in camera stabilizer uses these days). So the innocent desire to share information and participate in dialog need not be met with condescending or rude responses from isolated members. The desire to stay on topic is understood, but an appreciation that we all dont approach this and other subjects from the same angle should allow for a less rigid approach to topics and a little decency in dialog. If not, then this is a good argument to limit this forum to only camera stabilizer users that all work in the same arena and dont want to be distracted with the involvement of "amateurs".

And herein lies the source of a lot of the heated discussions, disagreements and alike. The original intent of this board was to service professional Steadicam ops that worked within the LA type models of film / video productions (i.e. directors , ADs, Cam Ops, ACs, etc) . With the advent of Steadicam models at a lower price point, every Tom (me) Dick and Harry that worked for some type of media organization (local production facilities, corporate media divisions, event/ wedding businesses and independent film makers) suddenly are cohabiting this board as well. All are valid uses of the device but they have their own unique requirements and ways of doing things. I have seen that everyone here is serious about their craft and want to excel at what they do. So even though our work situations and equipment utilization may differ, we are united in our desire to pursue a craft we love / like doing and we all want to communicate with others that share that feeling by participating in this forum.

Charles, I just finished typing my response to Eric when I caught your last post. You very aptly summed up the different needs and options available now that was not the case several years ago. As I said in my other post, "horse for courses"...

You miss the point Tom, It doesn't do analog inputs, it's LARGER than the nanoflash and it's HEAVIER than the nanoflash, Who cares about workflow when it's not the primary recorder... Obviously you missed my point Eric. Operators shooting VIDEO projects with HD-SDI spigots on their camera want to feed a unit like this (acting as the primary recorder) the uncompressed SDI output so the units conversion to PRORES uses the best signal possible. Maybe film shooters need the anaolog inputs but all the professionals I know shooting HD video projects do it in the manner described. MPEG sucks as an edit codec on most NLE systems and takes time to convert. Folks familiar with the post production process generally concur on this point. Its another case of "horses for courses..." ;-)

so for those of us that shoot film this box is worthless And extremely worthwhile for video shooters, especially those that understand how it streamlines the process posting in a Prores workflow ;-)

Robert, check this product out from AJA. Its cheaper than the Nano...it records SD and HD...its a bit more compact ...it generates a variety of Prores files that need no conversion and are edit ready. http://www.aja.com/products/kipro/ki-pro-mini/ki-pro-mini-description.php

Beautiful moves and framing.

Now that scares me... to see the bones is a lot of radiation... but by then, we may have already burned off the ozone and living in a Riddick world -Alfeo And by then you will probably look a lot more like Arnold Schwarzenegger...

Brooks, let us know what the solution is so those of us with websites can learn from your experience.

OSX Snow Leopard, Firefox 3.6.12 - loaded instantly (played automatically), never waited for buffer

Is it an older model? I heard they had bearing issues. I have a newer V-25 / X-45 since last January and have had no problems at all. Did they fail while you were in the low mode?

Jay, we are in complete agreement on how helpful workshops can be. I was just sharing the economic perspective as to why they might not be filling up as fast as they have in the past. As a enthusiastic person new to the experience, the best thing I ever did (after practicing the manual and dvd for 6 months) was to take a very personalized 2 day workshop with Robert Starling. Even though after a 30 year career as an editor I was layed off a while ago, I scrapped up the funds to take the class because I know how essential it would be to my learning curve. And it was all I hoped for and more.

Good point, Mark.

This brings up a very good point. In professional ""Media land"" there are several markets with associated expectations for cost. 1. LA/NY film/video industry 2. Local commercial/corporate industry 3. Wedding industry (what I believe we are seeing here in the attached clip) Different budgets, different expectations.