Steve Fracol SOC

BTW- I found out today that the Hummingbird has a built in heater. Now that IS a smart idea. Also, you can size the UltraBright image horiz and vert, mirror, flip, etc. Very extensive menu. Sorry Alec...about the posting. Re-hash old info yet again. Steve Fracol, SOC

I thought the Clipper had an RCA video output on the bottom. I might be wrong. Sorry if you already tried this but....If it has a DA built in then that should be the place to get video from for an on board record. I think looping from the monitor will cause you problems because if I remember correctly that output is also an input (either or not able to use both at the same time). But my guess is that your monitor is getting its video from a multipin Hirose with power also. To loop out of the monitor will create the termination issue that your facing. I hate to assume that you did not try just the RCA connector output direct to your record device...? If you have not tried that give it a whirl. Most consumer/prosumer record devices do not allow a place to terminate or they auto terminate. At any rate I hope this helps. Good luck! Best, Steve Fracol, SOC

Dan, I second Brant's opinion. However?I think that if a green screen works for you?stick with it. I first started in 93 with an EFP (LCD monitor version)...later had an SK II for a short time (green screen) then faced the tough decision of Pro VS. Ultra. I went with Ultra for many reasons but one of them was because of the HD UltraBright. I know a lot of operators do not like how large it is but I have had no major issues with that (probably just got used to it) and I consider the 8.4? to be an advantage 90% of the time. I use a Panasonic 7" similar to Brant's (mine is a NebTek) as a back up and I have a Tiffen Steadicam Flyer 7" monitor as an additional back up for my Ultra. I have had only a few shoots where the LCD proved to be a bit problematic. One was when I was shooting in very, very cold temps (+8 deg). Most LCD monitors that I know of are only rated to +32 deg F. They actually work fine for a long time in below 32 (as long as you keep them powered up) but eventually what happens is the monitor begins to actually freeze (LCD = Liquid Crystal Display). It seems to begin with the blue chan. First (it gets real chunky). On the cold weather night I kept a Mighty Mole on it (back side of monitor, 2' away or so) next to my stand in between takes and also wrapped it around the sides with coal hand warmers. The hand warmers need oxygen to work properly so make sure you tape them so they can breath. I got through my gig OK but that started me on a hunt for a 6" green screen back up. Since then I have had several +20 deg outdoor gigs and had no issues at all. Just long term exposure in ext. cold temps seem to be the issue. Just plan well and keep stuff warm or covered...you know...the usual stuff most of us know to do. The other reason I think would be smart to have a green screen is when shooting very low light level night scenes with bad old video taps. Because I base home in the midwest we often end up with old Arri cameras with really old taps. Of course I have a ton of control with my brightness and contrast on my UltraBright but I believe you can get much more range from a green screen than an LCD. I had to shoot a scene from a movie last summer that was so dark I could only see a few practical street lamps in the frame and had to use them as a guide. I spoke with some of the long time ops from back in the day and they said that was the only way to view things at night back in the day. You know....candle light at thet Last Supper and all. Tough to do quality work. So....I have no problems with either system but because I learned on LCD I am an LCD lover. Another slight (very slight) argument can be that you can get more into the story or a particular scene by seeing what is going on in color vs. green. I am sure that statement will stir an argument but because I come from drawing, painting and sculpting background I am all about THE STORY. What is happening in each scene I am shooting and how close can I get to understanding how I can help tell that part of the story by my operating. Sometimes just the slightest movement at the right time can reveal something special in a character that might otherwise go unnoticed. Shooting a steadicam shot while in color and by looking at an 8.4" monitor I believe has helped my operating. Now, that said....Larry McConkey (THE MAN) has done a HUGE BODY of incredible work with a TB-6. I find it very hard to argue with that. So....all that I said can be taken as FLUFF and BS or?just for what it is?another operators opinion. Many, many great operators far better than I only use and love green screen monitors. My advice is to stick with what works for you. I love my UltraBright and I am sticking with it. That is my .02. Best, Steven Fracol, SOC

I just shot the open scene of a feature last Tuesday with a 235 from Panavision. I had no problems. The shot began with an ugly up hill run to begin... complete with a long set of stairs with a nasty dogleg right switchback...then pause for a kick in of a door to find dead bodies all over the place inside the house, etc. (fun stuff). This being only the 2nd time I flew the 235 with Cooke S4 21mm lens but I must say I really appreciated the lightweight... especially for that type of a shot. I would have been just as happy with an SL Cine but....I had no camera problems at all with the Arri 235. On this one we only had HH mags. Still not an issue. Used about 80' per take. We got 7 takes in that night and all was still good with my legs, etc. (SWAT team stunt guys kept running into my sled on the switchback that is why 7 takes). Personally I love that little camera. I guess I will continue to love it until I get burned like Erwin. Sorry to hear that happened to you buddy. That sucks. Hopefully just one of those things that happen...not a regular problem with the system. Anyway...back to the topic...confirming the power connection is the same as SR 3, 435, etc. Very Best to all, Steve Fracol, SOC

I agree with everyone for the most part. I had to shoot on Lake St. Claire (sp?) in Detroit last summer while shooting TV News Promos for WXYZ Ch 7. We were out for about 45 minutes to an hour and I was in the rig for about 35 of those minutes and that was enough. I did manage to get a few very nice shots of a sailboat passing through the sunset with the GPYC in the background. I was on a 36' or 32' motor chase boat (can't remember exactly). The swells on that lake are not that bad but typical 5-8' almost all the time. I think we ended up at an idle speed and let the sailboat come to us and pass by. It was a beautiful shot once we got the timing down. I had the rig on me (centered on the boat-shooting HD VariCam 10-12mm lens) and a key grip with a death grip on my vest just behind my shoulders by my shoulder blades. YES, I said VEST. That is one place I would not take my Klassen Harness. I also checked and made sure my emergency system was working properly prior to getting in the boat. VERY IMPORTANT!!! Make sure if you have snaps and Velcro....you need to un snap the snaps just allowing the Velcro to hold the vest together. That way if you do go over... the rig will peel off your body easier in the panic. Geez...I made that sound way to easy. I hope nobody ever has to find that out. Oh...also splash/rain gear and dry towels. You will get wet most likely. If I had to do it over again I would try to talk them into another solution but if you gotta do it just be smart and safe about it. Try....TRY to put a limit on how much time you will be willing to put into it. (I know... nearly impossible to do that!) I did not get sick but I can imagine many people would get sick while looking at a monitor bobbing while everything else is bobbing other directions. I might have made it through without getting sick because I shot aerials for years. You get a very similar feeling when shooting from a Tyler middle mount. I do not fly in Helo?s anymore however. Actually, a Tyler on the boat would be another good soloution. That with gyros would be pretty awesome. HA! Good luck and check your safety gear! Let us all know how it goes and when it will play. Would love to see it!!! Best, Steve Fracol, SOC

PRICE $48,000.00 PRICE REDUCED I will be in LA working with this rig for the entire month of November. If anyone wants to see it they can contact me at the LA number below. I will be glad to show it then. *I am selling because I am ordering an Ultra 2* I will consider selling Sled, Arm, Vest separate E mail for photos. Contact: Steven Fracol, SOC 816-213-0141 KC 323-301-6790 LA steve@fracol.com

This is an older model Chroszeal 4x4 2 stage matte box. It is a basic model that was made in the early to mid 1990's. It is in pretty good shape with the exception of a crack in the outter housing. I have since fixed this crack with super glue and it is holding well. It has a 100mm clamp ring but others are still available for this model from Fletcher Chicago (call Kari Hess). This box does not have an eyebrow but it has the support for one. It is a nice light weight box for most Steadicam situations. I carry a very similar box in my kit and I often use it over what comes with a given camera package because these are so light weight. I can confirm that the Vertical 4x5.650 Chroszeal trays will fit this box Mod# 410-03. Price $ 600.00 US Contact Steve Fracol, SOC 816-213-0141 Or E mail steve@fracol.com

Andrew, With the HVX 200 you can monitor from the camera in standard Def so any LCD monitor or Green Screen monitor should work if I remember correctly. The Panasonic 7" (although out of production now days) is a great monitor to use if you can find one. Try www.nebtek.com. I just bought one recently from them. They still had a few left in stock, under a grand I think. As for focus... if you have no camera dept. (no AC or Focus Puller) shoot a deep stop and a wide lens. If not an option, rent or buy a BFD. http://www.bartechengineering.com/ Good stuff that works very well and quite reasonable. Find someone on the set to run it and use a tape measure to find marks in relation to you, subject and your walking distance as you move. I think you can buy a gear to go on the HVX lens and I hear it works pretty well. You will also need a motor and a way to mount it. Ahhh, revert to deep stop and wide lens. As for the real HD job down the road (VIper, CineAlta, VariCam or others) you can still use that same LCD monitor as long as you add a down-converter in line to the camera. Tell production or the producer that you MUST have this. Not an option unless they can supply you with a real HD monitor. Then you gotta figure out how to mount it on your sled. If that is the case I like the 9" Panasonic HD monitor but it is pretty heavy. My favorite is the HD UltraBright by Tiffen. The HDSDI is now available I think. Might be way overkill for your sled however. Other issue if your dealing with the Sony F 900. If no down-converter you have an RGB signal. That takes a different converter. Look at www.aja.com or www.miranda.com. http://www.aja.com/html/products_converters_mc.html As for down-converters I like to use the AJA HD10MD3 HDSDI to SDI/Composite converter when dealing with HDSDI signal. It is small and light and powers easily from most cameras or sleds. Other options that HD cameras will be supplied with if it is coming from a real rental house is the Miranda or Everts. Both are fine. You still need to get your hands on stuff in advance and make sure you have all the right connectors to do this. Prep, Prep, Prep. Can't say that enough. Don't just show up the day of the gig and expect to be ready in 15 minutes. Good luck and let me know if you have any other questions. Best, Steve Fracol, SOC

The EFP Vest has been sold. Thanks to all of you for the interest. Best, Steve Fracol, SOC

Guido, I must say that is a good looking van. Black with black wheels....nice touch. Only thing that would make it "more cool" is a Flat Black finish. Truly Steadicam color. HA! After spending a lot of time in LA lately... I think for the owner operator with just a Steadicam rig PKG and not a lot of extra stuff, the Pick up with camper shell top is the way to go. Mini van is OK as well...but having had several mini vans as personal family vans when our kids were small I just got tired of driving them. I like the idea of a 4x4 4 door short bed. Go anywhere (just about) and lots of room in the cab. If and when I decide to downsize from the Sprinter Cargo van I think a pick up is in my future. Steve "4x4 pick up fan" Fracol, SOC

David Ellis.... You are absolutely the funniest Steadicam Op on the Planet. My hat is off to your WIT! Thanks for keeping us smiling and laughing out here. Life is way to short to not laugh a little. Hope all is well in your world my friend. Been a while since we last spoke. Best, Steve (still laughing out loud) Fracol

EFP Vest for sale. It is in very, very good condition overall. Nice new velcro. Would like to get 1,200.00 but I am motivated. Contact: Steven Fracol, SOC 816-213-0141 323-301-6790 steve@fracol.com E mail for photos.

Tiffen/Ultra Cine Excellent Condition 3 years old Ultra Cine Sled 28" to 71" carbon fiber center post Low Friction Gimbal No Tools Tilt Head Motorized Top Stage V. 2.0 with remote HD UltraBright TM 8.4" color Monitor Built in Frameline Generator On Screen Artificial horizon Monitor Hood (with velcro) Ultra Arm 70lb max - soft arm bag Internal 24V to 13.2V regulated down-converter PAG 4 batt charger + cables PAG single batt charger 3 Ultra 24V batteries (Various conditoins) 1 Parts Ultra 24V battery Dynamic Spin & Docking bracket Dovetail Plate Hard Case for the Sled Hard Case for Batts and chargers (PAG) Owner's Manual Anton Bauer to Tiffen 30V batt mount (Custom) Astro Power Meter adapter (fuel gauge) Ultra Light Weight Vest and Hard Case PRICE $48,000.00 PRICE REDUCED I will be in LA working with this rig for the entire month of November. If anyone wants to see it they can contact me at the LA number below. I will be glad to show it then. *I am selling because I am ordering an Ultra 2* I will consider selling Sled, Arm, Vest separate E mail for photos. Contact: Steven Fracol, SOC 816-213-0141 KC 323-301-6790 LA steve@fracol.com

I have the full size Dodge Sprinter. For those of you that might own more than just a Steadicam Pkg like myself. You might need more room. I have 2 Steadicam pkgs, Full VariCam pkg, Head, Sticks, Geared Head, Full Documentary Lighting pkg with custom cart that also handles 6 C stands flags-nets, etc. Lots of STUFF. Not every job is the same for me. Sometimes only the Steadicam gear goes out. Sometimes the whole PKG goes out (those are great days!). On occasion they use my Sprinter as the Camera Truck for the smaller 35mm gigs because you can stand up in it and a loader can build a great (out of the weather) loading table, etc. All the gear fits great in the large 158" wheel base Sprinter. Noise is an issue but not when the truck is totally full and all the gear/carts are strapped down. When driving it empty you need to take some Aspirin before you leave the house. Also when empty talking on the phone is very hard. I base home in the Midwest (Kansas City area)and I drive up to 12 hours to gigs. I love being able to toss what I want to take in the Sprinter (including my bike) and just go. It is not like packing for airline travel. I travel by Air about half the time so all my gear is airline readys as well. It also gets 18mpg city and 20 mpg highway. 5-cyl Merc. Diesel. It is HUGE and a bit of a pain to park, will not fit in parking garages, etc. I would not want to use my truck in LA or NY but works well in the Midwest. I am in LA right now (without my van) but when I get home I will take some photos and post them for you guys to see. I know an LA Jib guy that has the Tiny version (short wheel base, 138" I think) of the Sprinter and he loves it while working in LA. That size might be a good option for the LA/NY based operators. Sprinter is not right for everyone.... Steve Fracol

I posted this yesterday in the Brackets and Widgets file as a response to a question about using a cage...but I thought I better post it under General Discussion so that more people might see it. I know how good a job you moderators do and I know you will move this but please let it live here for a few days as a General Discussion so more of the Steadicam Op's can hear about it. I think the VLS is a great item to add to the kit. It made my day the first time I used it. Story below. Just a few days ago I got in a VLS low mode bracket from Brant Fagan, SOC. As it turned out 2 days later I landed on a Wal-Mart commercial. The Director told me the entire day would be in low mode and we were using a VariCam. This particular VariCam was from a rental house and even though I requested a flat top VF Gadgets after market handle it showed up with the not so great factory handle. On days that the HD Video camera is to be in low mode all day my assistants and the DIT (HD video tech) I often work with prefer the camera to be ?normal? or right side up so that it is easier for them to work on and they do not have to think ?up side down? all day. I also work with some old school DP?s that prefer to not flip monitors on the set. That said I often manage to get away with flipping the image in the VariCam but not always that lucky. This is a prime example. On the morning of the Wal-Mart shoot and in just a few minutes my assistants and I had Brant?s VLS bracket on the camera and we were all amazed at how much rigidity it added. Right off the bat the first shot was a walking along side of talent start then run past talent with a switch (walking backward) then looking back at talent placing two body guards on either side in the exact center of frame. Not an easy shot to begin with let alone in low mode. The thing that I noticed right away during the first few rehearsals was that I did not have to worry at all about the camera shaking side to side because of a bad low mode mount. Brant?s bracket held the camera so tight is was exactly as if I had the camera mounted normally. This totally allowed me to concentrate on my hand control and the switch as well as speed to hit all our marks correctly. We nailed that shot then went on to finish the day, 11 scenes total, all low mode. It is a very nice bracket and I advise you get one for any work with ENG style 2/3? video cameras. I do not know all the models that this will fit but it appears to work with nearly all 2/3? style ENG cameras. Sony BetaCam, Cine Alta, Panasonic 900, VariCam and I bet it will work with the Viper when in 2 piece mode. I am sure Brant will chime in here and share more info. I am guessing that it will not work with the Genesis or Arri HD camera but it might. I have not been able to measure those to see if it fits. Best regards to all. Steven Fracol, SOC Steadicam/VariCam Owner-Operator New Vision Pictures, Inc. 816.213.0141KC 323.301.6790 LA www.fracol.com

Lav, Alec and others... I was about to embark on starting a new thread on this subject but this is the perfect opportunity to share this info. Just a few days ago I got in a VLS low mode bracket from Brant Fagan, SOC. As it turned out 2 days later I landed on a Wal-Mart commercial. The Director told me the entire day would be in low mode and we were using a VariCam. This particular VariCam was from a rental house and even though I requested a flat top VF Gadgets after market handle it showed up with the not so great factory handle. On days that the HD Video camera is to be in low mode all day my assistants and the DIT (HD video tech) I often work with prefer the camera to be ?normal? or right side up so that it is easier for them to work on and they do not have to think ?up side down? all day. I also work with some old school DP?s that prefer to not flip monitors on the set. That said I often manage to get away with flipping the image in the VariCam but not always that lucky. This is a prime example. On the morning of the Wal-Mart shoot and in just a few minutes my assistants and I had Brant?s VLS bracket on the camera and we were all amazed at how much rigidity it added. Right off the bat the first shot was a walking along side of talent start then run past talent with a switch (walking backward) then looking back at talent placing two body guards on either side in the exact center of frame. Not an easy shot to begin with let alone in low mode. The thing that I noticed right away during the first few rehearsals was that I did not have to worry at all about the camera shaking side to side because of a bad low mode mount. Brant?s bracket held the camera so tight is was exactly as if I had the camera mounted normally. This totally allowed me to concentrate on my hand control and the switch as well as speed to hit all our marks correctly. We nailed that shot then went on to finish the day, 11 scenes total, all low mode. It is a very nice bracket and I advise you get one for any work with ENG style 2/3? video cameras. I do not know all the models that this will fit but it appears to work with nearly all 2/3? style ENG cameras. Sony BetaCam, Cine Alta, Panasonic 900, VariCam and I bet it will work with the Viper when in 2 piece mode. I am sure Brant will chime in here and share more info. I am guessing that it will not work with the Genesis or Arri HD camera but it might. I have not been able to measure those to see if it fits. Best regards to all. Steven Fracol, SOC Steadicam/VariCam Owner-Operator New Vision Pictures, Inc. 816.213.0141KC 323.301.6790 LA www.fracol.com I forgot to attach photos. Here you go. Best, Steve

I have nearly 100 hours of aerial work in over the past 20 years. I have flown in A Stars, Long Rangers and Jet Rangers, Old birds like the TV show Mash used and some of the small SR or RS 22 and 44's or whatever they are called. I have done work from Miami to Cali. and with some average pilots and some of the best pilots in the US. I have been able to shoot some really nice work with the right pilot and plan in place. I have also had 2 very close calls to crashing myself. Once near a power-line that was not seen by anyone but finally seen by my Assistant Roland Schlotzhauer (Dead now by a helo crash) with the pilot?s quick reaction we avoided that crash in about 1996. The other was when flying with Roland's brother Bob who was also a helo pilot. We had an alarm sensor go off and Bob dropped from about 600 feet to 200 feet in about 6 seconds. That is enough to scare the crud out of anyone. In both cases a crash was avoided. Strangely enough I continued to fly after that for several years. Once flying gets in your blood....well, its a lot like Steadicam. It was when I met Mr. Garrett Brown and he told me several stories of friends he had lost to crashes that I decided that gathering money in exchange for a roll of the dice as to weather or not I would live to see my wife and children again was worth it. I stopped flying about 3 years ago. My friend Roland did not. He had several hundred hours of experience and I am sure he had many more close calls than I. I know you have all heard of his untimely death but I just wanted to remind all of you that life is so short and precious. SEE Roland Tribute web site: http://www.geocities.com/roland_tribute/index.html I do not expect this forum and my comments to change everyone's opinion about flying in a helo. I just hope that you do decide to fly that you heed the great advice in this topic from Fernando, Eric and Stephen Press. As I read this topic I realized that it took me 8 to 10 flights to gain the experience to know what Fernando wrote about. Nobody tells you this stuff so PAY ATTENTION. IF YOU MUST FLY HEED THIS ADVICE. But...if you can aviod flying that is my advice. Roland Schlotzhauer Died doing what he loved to do, shooting aerials. He was 50 years old and left behind a wife, step daughter, and a 3 grandchildren. Sorry for pushing my opinions but I felt obligated. Best Regards, Steven Fracol, SOC Steadicam/VariCam Owner Operator New Vision Pictures, Inc. www.fracol.com

All seems like good advice to me. I would just offer one other shoe option to think about. Having been a fly fisherman for many years... when I work in and around water with or without my rig I like using very light weight fly fishing shoes/boots. They have a thick felt bottom and they are not slick. Very easy to walk in water. I do not think this is any better of a choice but just another option for you to think about. They are also made to be in water for long time periods so they may last longer and make a nice addition to your standard kit. Many options available. Check this link. http://www.cabelas.com/cabelas/en/common/s...shoes&noImage=0

Truth is that both Jerry and Garrett know me too well, they finally got me to give up my "Bitch". Anyway, am I to conclude that you'll finally be coming to say hi in Amsterdam this year? About bloody time Fracol! Peace, Ruben "You had me at 'Hello'" Sluijter Ruben, Funny....you had me at Hello. You crack me up. Well, I am not sure how your "Bitch" rig will handle you getting aquainted with a rig designed and built in the 21st Century. She might get a bit JEALOUS. Perhaps a good name for the new rig is "The Mistress". Gotta run. Oh....As for Amsterdam...can't say for sure yet but I promise I will try to make it this year. I think that is what I said last year. Steve "getting ready to haul around Haskell's BL 4" Fracol PS- I should have just said NO! "Just say no to BL work" "Just say no to BL work" "Just say no to BL work" "Just say no to BL work"

Guido, It was your order that started it all. Well, actually Ruben mounting the U2 first...then sort of a free for all. It was nice of Jerry to give Ruben the first official flight. I think Ruben's order was first. (Jerry, giving him the first flight worked, HA! -Jerry alrady knew I would order one) Of course I ordered one...are you kidding. Can't wait for delivery. yes, home safe. Kids and dog were happy to see Stac and I again. Life is good. Likewise it was good to meet you. Hope all is well in your part of the world. Stay safe, fly safe! I will come and visit you at IBC. Regards, Steve "Steadi cutting edge" Fracol PS-A.K.A Steve "going out to cut the grass" Fracol

I could not agree more with your feelings. Having known Jerry and Garrett personally for about 3 years...they work constantly to make Steadicam better. Jerry never stops talking about how they are going to improve this or that. And best of all the factory is listening and delivering the goods. It was worth the wait. That is true dedication to a product. I look forward to the delivery of my new rig. Steve

Frank Rush said they are are going to try and price it at or just below the current Ultra price ($66,000 US). Call him and ask for detials. Best, Fracol PS- Sorry for the typos in my long posting on the U2. I am still recovering from the trip.

I normally do not post much on the forum but having spent some time the past 4 days with the Ultra 2 at NAB I feel it is an obligation to share the info with anyone that wants to know about it. My opinions might sound one sided but keep in mind that I was already an Ultra user? and this is not a direct endorsement for Tiffen (they are not paying me). I like a lot of stuff out there?but I personally like the ?creature features? available on the Ultra the best. It just works for me. Most of you that know me know that I fly an original Ultra Cine as my main rig. Ultra Arm, Klassen Traditional Back Mount Vest as well as my original Ultra Vest? and I have a 24v modified EFP (still in construction mode) as a light weight running rig/back up. I have had my Ultra Cine for nearly 3 years and it has been very good to me. The few problems I have had (self inflicted war wounds) were taken care of very quickly by Kyle Young the Tiffen customer service rep. Again, I am not here to endorse Tiffen but I will quickly say they have treated me very, very well and I feel I owe them some gratitude for taking such good care of me. Tiffen seems to stay directly on the cutting edge of Steadicam technology. They usually put more stuff than anyone needs on a rig. The sort of stuff you can live without but it is the stuff that makes your job easier, better and more fun. They have managed to put everything the original Ultra had into the new Ultra 2 + more. They also made the rig totally ?FIELD SERVICABLE?. That was a big deal that the original Ultra was missing. To get inside and work on or fix the original top stage or cabling was a real chore. You had to have several hours to spare and some very specific tools not to mention a ton of patience. I only know of a few people that would even attempt it other than Larry McConkey and Aldo at the factory. The new U2 is very field serviceable. Problems from the U1 for the most part seem solved. Time will tell for sure once they start delivering?but after 4 days of flying it and really looking it over, it seems to be a great system. The G 70 arm is everything that I expected it would be and with 32? of boom range, all I can say is WOW. You need to try it out to see how smooth it is, light weight it is and how you can actually adjust the ?ride? of the arm for whatever type of shot your doing or if you like the feel of a 3A or PRO arm. Very handy. The new Ultra Vest is also improved. I will go into detail on each item below. Original UltraCine: Some of the things that I absolutely love about my original Ultra are the post size flexibility from 28? to 72?, the on screen level indicator, motorized top stage and the tilt stage. Many other things come to mind but those are what pretty much sold me. Even though 85 to 90% of our operating is in a typical config. missionary position I still say all those options are a great way to sell what I can offer up as an operator and make myself a bit unique. It works well for me. Anyway?my point is to get to what is going on with the new Ultra 2. So here goes. Ultra 2 Sled: The sled has an all new super stiff camera mounting stage with ?go-to? motors, a modified from the original ?tilt stage?, and a wider range of adjustment than before. The electronics are on cards with no wiring harness. Easy upgrading with a sort of plug and play type set up. Definitely 21-century stuff. The motorized top stage has the same fore and aft buttons but now also has 3 pre-set buttons. That means that you can pre-set a place for the motor to go during a shot to trim for a final lock or headroom along the way or anything you can think of as a need to make your work better. It has indicator LED's (red-green) thanks to Rob at the factory to let you know programming the move is locked in. It is very easy to program and it is a very nice feature. Nice upgrade from the original Ultra. The ?tilt stage? is pretty much original design but a much better and more positive locking system. They changed over to Kip handles on one side and locked the other side together with an aluminum stint. Most of us that had the original Ultra made those mods early on because the top stage often slipped just a bit throughout a long day of operating. Glad they listened to us for that fix. The gimbal is totally new. Larger bearings on both the gimbal itself as well as the side-to-side yolk. They created a very cool tool called the ?blue whale? that allows us as operators to very easily center the yolk when it gets out of center. Another great feature. The old one was also somewhat user serviceable but this is a much better system. My guess is that it can be centered in just a few minutes and this time it has screw on dust covers that only come off and go on with the pin registered blue whale. Nice stuff. The top stage plugs have all the usual stuff but this time around it has 2 b&c connectors. One is an HDSDI cable that is a home run straight down the post to the bottom electronics box. The cleanest feed to your HD monitor. It also has a feed to the video DA that sends the composite video to all the necessary places we need video for transmitters, on board recorders, etc. Very smart. The reason why they missed that on the original Ultra was because it was brought out in 1999 prior to most cameras sending HDSDI out. It is basic stuff now days and I am glad they wired it this way. Personally I do a lot of HD work so I will use these features often. The electronics box on the bottom of the rig is in the shape of a small shoe. It is a much smaller box than the original so I am fairly certain that it will perform better in the wind. It has a slide away ?diving board? for on board recorders with adjustable power tap right there and all the usual connectors that we typically need as well. It also has an integrated power meter that can switch between voltage from the batteries, the voltage from the DC-to-DC converter, and the AMP draw from the batts or the converter. Pushing a button on the side of the electronics box cycles through the 4 indicators. Cool stuff that I typically incorporated aftermarket items for. Now standard features. I like that a lot. The Battery system is probably the most significant problem solver Tiffen has come up with for all of us that fly the 435 or Genesis cameras. Tiffen together with IDX have developed a new battery specifically for the power consumption needs that we face when working with the 435 at high speed and the Genesis camera. These batteries together are are 29.6V 180 watt hour system to kick ass and meet the needs that a lot of us face on a regular basis. Yes?I know that most of us have figured out that a NiCad mix with Hytron works great for 435 work but these new batteries are 1.5lbs each. I heard Garrett tested them and one set will run 20 mags at high speed before depleting. (eager to test myself) Cool stuff. Jerry Holway also shot recently with the Genesis and had no power issues at all. Get this?.they also work with any of the IDX chargers already in service. Also very cool stuff. The monitor (HD UltraBright) has also had some plastic surgery done on it. They took the electronics out of the monitor box and separated them so that the monitor at 1400 nits would not heat up so much and turn the fan on. I know I have had a few sound guys get a little pissy with me when working in confined spaces with actors and that damn fan kicks on. You had the ability to turn the fan off but if the auto system had turned the fan on in the first place then I figured it must need to be on. That made for a bad day in the past. In other words it was a great idea to separate the electronics from the heat that the 1400 nit brightness put out? so that problem is solved. (I am eager to test) This version also has an HD SDI input. Thank goodness. For those of you working with the VariCam and other HDSDI only cams? you?re now in luck. No more need for a downconverter. Most cameras had aftermarket converters anyway but it is nice to work with a clean HD image. The new Ultra Vest is a very big improvement. New positive ?V? mount shoulder straps, and a better design on the spar overall. They seemed to move the belly plate to the front of the spar instead of under and the adjustments are much nicer. Easier to move and when locked everything stays locked including the socket block. My original had to be modified a bit to work well. This time around they have two locking knobs on the movable block assembly. Nice stuff and some really positive improvements. Way to go Tiffen!!! Garrett, Jerry, Rob and all those people that work in the factory should be proud. Well, that is pretty much a summary regarding the Ultra 2 from NAB. THANKS FOR READING! Very best to all of you, Steve Fracol