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Live Television Sled


Justin Besser

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Interested in who might be using a pro-sled primarily for live tv/sport work. Is this the best option? what else are people using?

modular config (DB2, Tele Post, Batt Gen3) is what I am considering.

will be flying Sony PDW-800 + Linksys L1500 + Lens (approx 20pounds) mainly with some Alexa/Epic film style jobs aswell.

g50x arm to keep weight and profile small. but will that max out too fast, slightly unsure of sled weight? other options without too dissimilar a price?

 

That was the main option I was considering, 2nd option which is motivated more by cost would be one of the Sachtler sleds (CINEHD) ..

 

Located in Australia, so no option for a local service provider except for Tiffen/Steadicam (through Lemac) not sure their system gives me the flexibility I am after.

 

Cheers,

Justin

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Justin, I have pretty much the exact Pro sled your interested in. More then welcome to have a play when ever you like. I've used it on about everything and love it to bits!

 

Having seen pics of the new Pro HD-TV sled which I'm told is coming out in May / June, I can say it will be perfect for that sort of work as well (tally built in etc).

 

If you were looking at the Tiffen Option... The Shadow V (formerly Phantom V) is probably their best option to suit!

 

If you want a play or a chat, give me a call!

 

JP

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I had my PRO/XCS sled made to support tally when David Hable did the HD upgrade to the Gen2 electronics. He replaced the Focus LEMO on top and added one at the bottom for a standalone LED cable. He also integrated a tally pin into the monitor LEMO. He even wired up a sensitivity circuit on a potentiometer for me!

 

It works great so far. Can't wait to see what the Live sled is all about too.

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Ideally, what is expected from a live sled? I'm guessing that you need something very light to hold it for long shows and that you don't necessary need all the extra like tilt plate and superpost etc (do you have time to readjust for a special shot during a show?) I'm also guessing that you need a tally light whirring and lens control on the gimbal handle. What about the trial cable often left wired?

(Ps: I'm not a live operator so I am actually asking questions, sorry if what I say is wrong)

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Hey Justin,

 

If your set on PRO, then I would try to demo the one Eric is suggesting... if not, like James suggested, The "Shadow" formerly know as Phantom-V was the mind child of Rob Viona... hence the "V"

 

Too bad Rob didn't get his name branded on the sled like the "Fawcett Exovest" ;)

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Ideally, what is expected from a live sled? I'm guessing that you need something very light to hold it for long shows and that you don't necessary need all the extra like tilt plate and superpost etc (do you have time to readjust for a special shot during a show?) I'm also guessing that you need a tally light whirring and lens control on the gimbal handle. What about the trial cable often left wired?

(Ps: I'm not a live operator so I am actually asking questions, sorry if what I say is wrong)

 

Victor,

To answer your questions:

What is expected of a live sled?

These days: 2 HD lines, an analog line, possible two, a tally system that goes to your HD monitor and to the lens of the camera or prompter, a return/program monitor, multiple power sources to power Zoom and focus control on the gimbal, along with prompter monitor. along with RF transmitter and return receivers. 9 times out of 10 we are flying a tethered rig mostly fiber but occasionally triax. so having a wiring harness is essential. Super post almost never, tilt plate works well in the pit at concerts and low mode.

 

Hope that answers the question

 

 

Justin:

The Shadow-V / (Phantom-V) was designed with all of these things in mind hence its the only plug and play live TV on the market to date

The Pro-Live rig will be debuting soon and Jack makes bullet proof stuff so it is going to be a fantastic rig. Either one are your choice for a live rig that will be plug and play.

 

or

 

Buy used and modify it to accommodate your needs, I still love flying my Old Faithful EFP Frankin Rig =}

 

Hope that helps

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Hi Justin,

In my opinion the only 2 clear choices for a live television sled are the Phantom Video (Shadow is the new name), and now the new "PRO Live". You should look at both and form your own opinion. They both have many strengths, and having a choice is a good thing. It's great to see more manufacturers cater to live guys.

 

I checked out the prototype "PRO Live" sled and it looks fantastic. I love the many 12/24v accessory power ports, and it included built in-tally and multiple HD video lines, analog lines for return monitors, and is modular like their other sleds so if you already own a pro maybe you would just need the upgrade parts. Looks like it will fly both live broadcast cameras as well as Alexas, Epics, etc. I'm hoping to give it a test flight soon.

 

Here are a couple of snapshots of the prototype...

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post-496-0-14998000-1359319687_thumb.jpg

post-496-0-40561600-1359319697_thumb.jpg

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Very curious to see the Pro Live sled.

 

I will chime in with my endorsement of an XCS Ultimate2 for live work. I like the 2" post and compact sled post length....as well the versatility to hop onto a heavy "film" camera job with rock solid ease.

 

I'm quite appreciating this recent movement by Tiffen and Pro to expand their products to this particular niche of Live.

I think the perfect zoom/focus module is yet to be seen however.

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I designed my sled to be 100% HD live-centric.

 

3 HDSDI lines ( who uses only two ?? )

3 Dedicated 12 V high amperage power lines

 

I can fly a DSLR in a lightweight cage with FF at 12 lbs or a heavily laden Broadcast camera package at 35 lbs.

 

-shrug- Easy to do.

 

The analog wiring currently being used will rapidly be outdated because more HD live cameras are feeding back HD Program signals. True, we can request Program down the Standard Def Prompter feed for now. But if I'm running a Teleprompter and my Return Program Monitor, that Prompter jack on the back is committed.

 

In designing the wiring for my sled, I abandoned all Hirose and all Standard Def wiring.

 

I left room for chassis-mounted micro Fiber connectors. Soon enough we will leave metal HDSDI BNC jacks behind for fiber outputs on camera bodies.

 

Rob Vuona's input on the Shadow (nee Phantom V ) was priceless and quite well thought out. Lovely rig, that.

 

Peter Abraham, S.O.C.

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I didn't realize my Ultra 2 is not set up for Live TV. Please advise as to what I need to do to so that I might continue on the live show I've been using said sled on for the past few years!

Lets see...

Multi HDSDI lines... 4... Check!

Return Monitor... Picture in Picture built into UtraBright 2... Check!

Tilt Stage... Check!

Tally light... Built in... Check!

 

I think your good to go!

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