Peter Milanov

Jeremy, the problem here is that what you seem to offer us is a consumer product, what we need is a professional product. There are lots of consumer level lcd monitors for very little money. As for the specs, I have a very hard time believing the 1450 NITS on that type of product. By the way, if you can make a TB-6 type of monitor for $100, count me in! :lol:

I would say it sounds like a problem with the gimbal. It´s definitely not a dynamic balance issue as the rig is still static and just facing the opposite direction.

Well, that is a list of accessories, not spare parts for service... B) Thanks anyway.

Hi, does anybody have a complete list of spare parts and ordering numbers for an Ultra sled? (I could ask Tiffen, but experience tells me this is faster :rolleyes: ) Thanks

Now all they have to do is come up with a good onboard recorder so we can get rid of the cables... :rolleyes:

Back from the job. Of course it was a 535A, about 5 lbs heavier than the B and no 100% optics... Glad I got those steadimags as my ultra arm was maxed out for this setup. Fortunatly it was a pretty strait forward shot, a few "follow the actors through a house" kind of shots, no stairs :) ...until the last setup when the DP came over and asked me "Can you put it in low mode?" well, I suvived that too and now I know, always demand steadimags... thanks everybody for the input.

Thank you for the quick respons Erwin. The job is in Oslo, Norway and I´m located in Stockholm, Sweden and I don´t know the renting situation there. If the production can´t find the mags I´ll probably rent them here in stockholm before I leave.

I have a job coming up with an arri 535 and the production does not have steadimags for it. Have anyone of you used a 535 without steadimags and how big a problem is it for shorter takes (30-60 sek)?

Just replaced mine a few days ago. I used a pair of cutting pliers and grabbed the rivets on the back side (where the small metal brick is) and after using some force the rivet snapps in half pretty easy. I also added the backstraps and I must say I´m very pleased with this addition, it makes a world of differens when using heavier cameras.

Will this work for you? You have about 3 hours before bidding ends... Sony XT-P50V Looks like a 4 channel diversety tuner.

Looks interesting. I hope the new post and gimbal clamps are compatible with the old Ultra rig...

The L/BG receiver is not optimized for the modulus. You need the Modulus/BG version (the one I have). I tried about 5 different channels between ch 40-60 and they all worked fine. I no longer own a modulus so I can´t do any further testing. If you change your mind I´d be happy to send you my receiver and you can try it out yourself and either return it if you are not satisfied, or pay for it if you like to keep it.

Thomas, as you have found out the modulus do work with PAL, it transmits whatever signal you input. The problem comes when you use transvideo receivers, they have to be special ordered to fully work for the modulus. I have a Transvideo Hercules BG PAL unit for sale if you are interested. Here is a link for their homepage.

Thanks for the input. I´ll guess I´ll send it back to Marell...again... <_<

I got a Marell digital level about four month ago. Since then it has gone back and forth a few times for a problem with drift. If I calibrate the level right after starting it up it will be off level within a few minutes. If I recalibrate it then, everything seems to work...until I turn it off for a while and then back again...off level and slowly drifts back to level after a warmup period of about three or four minutes. It also seems to have a problem with outside temperature. If I calibrate it in roomtemperature and then goes outside (in the case I noted it, it was a few degrees below freezing) it starts to drift again. So, my question is: Is this familiar to anybody else with a Marell level?

When I shoot video I just turn the rig upside down and flip the image back in post. Save a lot of time and headache on set and it takes very little effort for the post guys (just remember to turn the directors monitor upside down as well ;) ). Some video cameras, like Sonys IMX, allows you to flip the image in camera. When shooting film I get the brackets I need on a production to production basis. Of course you´ll need an F or D bracket for your gimbal.

It has come to my knowledge that this unit may not be NTSC compatible (thanks Ramon). I have not been able to verify this, but I have to assume that this is the case. So, this is a PAL only receiver. It receives channel 2-69 (modulus channels) and I have reduced the price to 450 Euro including shipping to Europe, US or Australia.

The BG version is the one fully compatible with the modulus transmitter. It will work fine in the US. It receives channel 2-69 US channel frequency.

SOLD I have a ´Transvideo Hercules BG´ receiver for sale (sold my modulus, so I have no use for this). I have used it once so it is as good as new. This is a PAL only receiver. Transvideos description I payed 700 EUR (about 840 USD) for it. It´s yours for 500 EUR or 600 USD 450 EUR or 550 USD (+ VAT if sold within Sweden) The price includes shipping to US within Europe or Australia. currentcity@bredband.net

Very usefull, thanks Paul.

Does anybody know of a company beside Tiffen that recells the Ultra 24V battery? I was quoted $720/battery in Sweden ($450 for the cells and $270 for the job).

The openingshot in "Boogie nights". After that shot you know every major character in the movie and it ends with a ramp to slomo, nice.

I replaced the receiver with a new Transvideo Hercules and now it works a lot better, but I´m gonna stick with the 2,4 Ghz system as the PQ on that is better. I guess it can cope with the poor image from the videotap better than the modulus. Thank you all for your input on this problem. /Peter

In Sweden the going rate for a TV operator including EFP size steadicam is about 800 Euro. /Peter

Hi, I´ve used it on several "shot on video" TV-series and they work pretty good. There will be some breakeup in the signal when moving, especially when there is obsticals in between. I´m using it now on a s16 shoot and nobody has complaind yet... But eventually I will invest in a diversity system as that seems to be the only way to get rid of the breakups. I will look into this when I get the time: http://www.eiwa-es.de/Video%20Produkte/VATsystem.php The thing that makes me suspicious is the low price: 1000 Euro (about US$ 1250) for both sender and diversity receiver, but if it works... /Peter