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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

wireless video monitoring

red1225 said:
The point is a GOOD focus puller. Not some schmuck that has to depend on the thing.
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Gotta love that New York attitude!

I'm not going to get into a pissing match with someone of your credits. I just find it odd that a high-end professional has the gall to tell other professionals they don't know how to do their jobs, simply because they use different tools in different ways.
 
CrewPix.com said:
Gotta love that New York attitude!

I'm not going to get into a pissing match with someone of your credits, I just find it odd that an obviously high-end professional has the gall to tell other professionals they don't know how to do their jobs, simply because they use different tools in different ways.
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Look, I don't want to get into a pissing match either. You do it any way you want...I really don't care.

If you have something to contribute to this thread about wireless video monitoring please do so as I am looking into this. If not just let things be.

Truce.
 
Danny

Check the steadicam forum under video transmitters, a believe there was a long discussion about HD transmitters. Failing that, I plan to have my AJA and modulus live on board. Video transmission is so use full to the AD dept, and everone else for that matter.

Nick
 
Power break out

Power break out

Hi all,

What got lost was the GOOD question about break-out/ power box.
Was thinking of a little distribution - to a couple of ARRI style Fischer 3 pin or Hirose plugs so I can run my access in where I need it - at the front end - and have it fused.

I can see a lot of customers wanting wireless sound back to camera and wireless SD out which all need differner currents.
Anyone on the case? Anders?
 
jtm said:
No offence but your focus puller shouldnt be pulling off a monitor - unless it's amateur night.
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None taken. While I appreciate your suggestion, and you're mostly right - you don't know on which purposes I was referring to, what type of focusing tools would be used and what type of monitor.
 
red1225 said:
How have you been powering the aja & titan tx? Do you need a power break out box of some sort for the camera?
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Currently with the PowerTap.

The AJA downcoverter is rated at 5W, and the Titan is rated 1.9w so you can power that from the GPI plug on the camera (Has around 15w). The HRS10 4 pin connector is easy to find and solder.
 
you can trust a 720p monitor I just got done on with 12 hours of trusting and pulling from it ..
 
Alexander Nikishin said:
If an AC pulls focus off a monitor, he/she isn't a real AC.

NO professional AC pulls off of a monitor.
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That's a bit harsh...even though I agreed to the above comment...haha

It is true though, but at the end of the day, whatever gets the job done correctly and efficiently is best, in my eye.
 
Oh no, is this going to turn into a PC vs MAC, Avid vs FCP, Film vs Digital discussion! I've done both, and a monitor can sometimes be your worst enemy and I've learned that through some painful mistakes in the past. (Oh and yes, I'm not a professional AC. But one learns through their mistakes!)

How much does the SD downcovert to wireless option typically cost. The HDMI is priced on the Geffin site at $699, which isn't too bad.
 
rockoblm said:
Oh no, is this going to turn into a PC vs MAC, Avid vs FCP, Film vs Digital discussion! I've done both, and a monitor can sometimes be your worst enemy and I've learned that through some painful mistakes in the past. (Oh and yes, I'm not a professional AC. But one learns through their mistakes!)

How much does the SD downcovert to wireless option typically cost. The HDMI is priced on the Geffin site at $699, which isn't too bad.
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That's not bad at all considering you can make a rental rate on that gadget :)
 
How much does the SD downcovert to wireless option typically cost.
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The AJA downconverter is about $2k the modulus 3000 transmitter is around $2k, a non diversity reciever like the Hermes from transvideo is about $800, and you'll want a CIT/sharkfin antenna, which is about $250. don't forget cables.

Nick
 
arrinick said:
The AJA downconverter is about $2k the modulus 3000 transmitter is around $2k, a non diversity reciever like the Hermes from transvideo is about $800, and you'll want a CIT/sharkfin antenna, which is about $250. don't forget cables.

Nick
Click to expand...

Alright, anyone ordering the HDMI solution, I'm curious to know how well it works.
 
While have all these different opinions running around here can i ask...

From a producers perspective, What is the best way to go about pulling focus on steadi work where actors are don't have marks? ie they are improvising.

Is the best case scenario a monitor focus pull????
 
From a producers perspective, What is the best way to go about pulling focus on steadi work where actors are don't have marks? ie they are improvising.

Is the best case scenario a monitor focus pull????
Click to expand...

No, particularly on steadicam, the signal to the monitor will be transmitted, and there fore useless for focus. The solution is simply a good focus puller. It's hard to do well, but it ain't rocket science. A good AC will know the math, do the depth of field dance, and keep the actors in focus.

I am a steadicam operator, and back in the past, I was an AC. I will do whatever I can as a stedi op to help my AC. For dead on enders, I usually draw a big circle with chalk and put an X in the middle. I land the post right over the X and the 1st knows where I am at. My guy that I use all the time is really good, and when I ask him to swag (scientific wild ass guess) it he nails it 95% of the time. You need to know whats doable, and whats asking too much.

Cheers, Nick
 
Now. Because he actors are improvising, so is the steady op. So there's no marks for reference unless the whole floor is marked in grids.
So in the case where that's not an option or another tool to use, would it not better to have the AC to side of action (so he/she can better gauge the distance) and have a wireless monitor to backup with remote focus? Or what is the best solution for the job considering a compromise has to be made. ie. the producer says this is what i want to do and i'll employ the person that finds a good workaround.
 
Pulling off a monitor in critical changing situations like this is the wrong way to do it - in other words by the time the monitor displays the picture as being out of focus it is too late so is your film/main camera. it is the amateur answer to the problem - a good ac will be working off 2 possible systems 1. his sense of distance honed through experience and 2. possibly a camera mounted focus system (about 7000 dollars) which will give a readout of subject to camera distance - again this is just a useful guide and can get fooled.

In short - you can't beat a good AC.
 
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