Daniel Christie

Hey Brad, most of these systems can be rigged with a hot head or do you mean the tracking direction? Daniel

Just saw the aforementioned SuperSlide- Similar rig.

A better solution than the cable cam for this setup would be a rig like Garrett Brown's GoCam (garrettcam.com). I've seen it used in coverage of track events. Again, this would be well out of your budget, but how about this; You could try mounting a lipstick camera on the dolly that whizzes out infront of the hounds with the fluffy animal. It's not the most stable solution, but it would certainly keep up with the dogs without a hassle. Daniel

I'm pretty sure I've seen a photo from Mad Max 2 (aka Road Warrior for some) where they were using a similar rig. I think it was a front mount though. Daniel

Hey Guys, Does anyone know where I might download an annular(sp?) focus chart or have one they would be willing to share. I hear they are much better than a Seimens star for checking focus for video with viewfinder peaking. Cheers, Daniel

Incidentally, also the stuff Kino Flo fixtures are made of. Known as Coroflute in some parts (such as Australia) ;)

Hey Guys, Does anyone know where I could buy a Sammys Greyscale online? They are the defacto standard around here. I could source one locally but the mark ups here in Australia are outrageouse. Cheers

Thought that was the case, thanks for clearing it up. Cheers, Daniel

So does that mean that down conversion is only an option for SDI and analogue outs, or could it potentially be used for conversion to 576i (in PAL land) DV25 or DV50? I know some of the decks can do it, but I suspect that the HDX cannot. Can you confirm this? Thanks heaps, Daniel

Hey all, Can anyone tell me if it is possible to output a DV25 downconverted signal from the HDX's firewire port from or while recording to tape in DVCPRO HD? Cheers, Daniel

The standard I have always used and been taught is yellow for tungsten blue for daylight, red for fast stock. I wouldn't normally expect to be working with too many more than three different stocks on one job. Daniel

Really? I contacted them once and they would ship, but the price they quoted was outrageous. More so than the prices the local suppliers charge (you know who I'm talking about). Daniel

Your local pro audio shop should be able to make a XLR to minijack adaptor. The XLs front input is unusual in that, yes, it uses two (Left and Right) rather than a stereo TRS configuration. This is the same type of connector that airlines use for thier headphone jacks. An XLR to dual mono minijacks should do the trick. Otherwise, an XLR to single minijack will give you audio only to one channel. Daniel

Actually, it depends on the voltage of the power supply. In Australia, Europe and most of Asia the mains supply is 240 volts, so 1K will require about 4.2 amps. In the US and Japan the power supply is 120V (with the exception, I gather, of some dedicated outputs used in laundrys, kitchens, hot water where higher curcuit capacity is desirable) so 1K = 8.4A. The formula to work it out for yourself goes like this; WATTS/VOLTS = AMPS. You should always allow 10-20% overhead though and make sure you know what else is on the curcuit. Daniel

I dont think the i-Cuff would work for film. I don't wear glasses, but I do use the i-Cuff DV (I still opt to use a traditional chamois on any eyepiece it will fit on), and if the Pro and HD are anything like it, they will leak light in the side where there is a rather large gap designed to allow a glasses stem into the eye piece. Daniel