Alfeo Dixon

Preference. Nothing less nor more.

Still..... ?

Low mileage... maybe less than 1200hrs. I will be shooting with it this weekend and can confirm tomorrow. $30K or best offer serious inquiries only please.

bump: still looking

I'm looking for the Preston MDR3 V-Lock Bracket to purchase.

May not be on all models... just like the DP7 Pro OLED also cross converts HDMI to SDI and vice versa We did that also... and by eye I was nearly 98% on the mark with a perfect match. Two actors open one refrigerator in one area of the store and close same model door but in a different location.

POWER WINDOWS!!!! Thanks James, I was racking my head around that technique they would do in telecine, something to the effect of Gaussian Blur in Photoshop. But not really seeing it on these. Not Beta... ALL of those videos where film... most of them 16mm which is why you get the deeper depth of field look. Mostly all videos then where shot with standard primes and super speeds where the top choice. S4's were reserved for the big boys and 35mm jobs. Still many where on the 10:1 canon cinema zoom. Chocolate and Tobacco filters where ALWAYS in the bag. White & Black ProMist made its rounds as well as Grads all over the place as clearly seen. Not vasaline in Brown Sugar, swing and tilt lenses mad a peek in videos also... this is what you got going on here as well as flash frames... flash frames we would just cut the camera off and restart the camera. Many of the good directors could do it in a good sync area of the playback track for an effect look that would hit during certain rifts of the song. film speeds, we carried 100T, 200T & 500T. 800T was just hitting the market and was a bit pricier. Also, 50D & 250D Thanks for the trip down memory lane. I was a camera loader and 2nd AC during the heyday of music videos!

435 is a great camera for steadicam, but you should get the vertical 400' steadicam mags that will give minimal weight shifting during the shot. In terms of handheld, its a bit front heavy but not too bad... again, get the 400' mags for that work also.

SmallHD DP7 Pro OLED does it overly and frame grabs. I know this because I was going ballistic that my brand new monitor had ghosting frame lines from camera prep... then later in the next day another ghosting of a previous shot was there. It turned out that I had put the monitor into overlay mode and had taken a screen grab with black screen showing only frame lines and then a frame grab of a previous set. I was REALLY glad to find out it wasn't a ghosting problem. I used the Alexa feature on that shoot to setup a transition shot, it worked well, but I did not have time to figure out the output to external monitors

Reg, You should be fine, I'm not sure about the ghosting issues stated. But if you have a concern, call Frank at CPT in Atlanta, Wolfgang Rossell invented the T-Rex and was the prior owner of CPT. http://www.c-p-t.net/specialty/specialty.html -Alfeo

reminds me of an unprocessed RAW or LOG C footage that was not color corrected

Absolutely not CGI... Electrode stimulation has been around for decades. I even tested a friends device way back around 1987 and just trying to find these clips, I'm discovering that the technology has mainstreamed to the Brazilian Ass sculpting! But really, place your finger on the side of your eye, just about where he places his (i'm assuming bluetooth) wireless electrode sync capacitors and blink your eyes. Yep, that is most likely the best place to induce blinking. The cross eyed method is too taking and no one could ever sit through an entire feature, let alone a James Cameron 3D feature without injury. Now would I prefer Francois way... NO! Not unless you like looking like you've been toe to toe with Joe Louis (reference electrode ass video on face) :blink: http://www.youtube.com/watch?v=BmBYwTiGzXY&feature=related http://www.youtube.com/watch?v=xNBesE0yoaU&feature=related

Pat, Thanks... that's pretty impressive, I have read many of instances where the 4x4 was a life saver as in time and efficiency in hard to shoot locations such as Grand Central Station. Any change on getting one out to Atlanta for a demo/workshop?

sorry Jeremy... hadn't been on the boards for a while.... no, this is not a common practice... the photo was during NAB and I had a friend coming bring a bunch of anaglyph glasses from a screening of a project I had shot to the Tiffen/Steadicam booth which I was helping show the rigs. Normal is to look at a single eye or and overlay of both eyes which takes a bit to get use to as far as your bg.

Now there's a wet dream on your shoulder, Neal! Low profile and just sits up there purrrrring along... but I'd say I was a bit surprised when i say the box'ish design on the Alexa, but I knew Arri wouldn't let us down like the clunky D-21 -Alfeo

So no matter how young you feel, age catches up with you... so after years of PERFECT vision... the 40th birthday seems to make you stretch out that arm from acute angle to obtuse. Anyway, with the advances in HD camera rigs, especially the HDSLR's putting monitors within a foot away from the tip of the nose. I had to take the trip to the optometrist and got a great pair of lenses for my eyes. Even though they are "reading" glasses, I got them with transition lenses for the simple fact of we may be outside wearing them handheld, viewing off a monitor. Needless to say, $425 after insurance pays... has anyone written off their spectacles and under what category... I've always done so with my expensive "Protective" sunglasses under miscellaneous/uniforms. -Alfeo

Has anyone used the LitePanels 4x4 out there? How did it perform for you and what comparison could you make to the instruments that would have been used (i.e. 12K HMI punching thru a 4x silk or 6K Par straight on)?

I wanted to explore the usage and differences of using a circular or linear pola filter. Are there any benefits of one or the other? Applications that may call for either? I'm well aware that auto focus will not work with linear pola filters, but I am not concerned with auto focus.

Karel, The preference is two identically matched lenses for ever sizing. Since most lenses are assembled by hand, even if they are consecutive in serial numbers, they may still be slight differences across the board. A zoom by nature is a variable lens, why on earth would you want to add more variables into your workflow. -Alfeo

This is the one I took... We basically tried everything. www.theworkshops.com

simply explaining the rig and WHY the rig will allow the IO to cross over. Its was NOT made for operating in a negative IO. Yes. That was one of the many things we accomplished in Maine... try it all and SEE why it works and why it doesn't work. Proper projection or manufactures standards, I don't think so. But we did shoot footage based on the projected screen size set up in the 'Production Barn.' We tried it all. Of course I understood this and DO agree, but you still missed the point of the rig allowing for the top camera to be left eye or right eye by asking me about negative IO. Don't think in terms of neg or positive IO with this rig... it's more of a left or right eye [top camera] configuration that is swappable for a goofy operator. no problem

Scott, Maybe your not clear on what 'goofy' operating is, so let me take the time seeing this is not the steadicam forum where I actually thought I had posted. Goofy, comes from a surfing term (I don't surf nor really know much about surfing) of someone that puts the opposite foot forward than the 'normal' guys. So, a steadicam operator that flies goofy, will fly the rig on his right side, rather than on the left side of the body. How this relates to the rig? In order for the [steadicam] operator to have a clear view of the steadicam monitor, the top [horizontal] camera should move towards the right (by default making it the right eye) while increasing IO in order to have visual clearance to our steadicam monitor below. If the bottom [vertical] camera is towards the right, this will obstruct the steadicams monitor and cause hardship for the operator to frame properly. So, the goofy guys will want the top camera to move towards the left (by default making it the left eye) so that the bottom camera will not obstruct their view of the steadicam monitor. A very simple and clear design feature thinking about the ones that are different from the rest of us. I too had questioned why Philippe would do such a thing and then he showed me exactly what I described to you. Now, your personal attack seems a bit rude. I've personally followed 3D for a few years before the big uproar and then studied an entire week with Paul Taylor at the first Maine workshop on Stereography along with Doug Hart and many other VERY enthused people on the subject of 3D. We even had a neurophysicist that came from Sweden just because he is excited about 3D as a hobby. I totally agree, that bad stereoscopic acquisition is pointless and that is why I am excited for Philippe's rig and just asked Chris at ZGC for a quote, because it is a good solid rig with a lot of thought into it for acquisition on dolly, hand held or steadicam and not just a flyby night rig made by someone that has never operated a camera, much less a steadicam.... Philippe is an operator! Apology in order and accepted -Alfeo BTW, that is also why there should be a stereographer onset and not this post crap.

Scott, A dream to fly with SI2K's... we had one in the booth at Tiffen/Steadicam and I was also given a very thorough overview of design and operation by Philippe Bordelais. Not to mention the same over haul on the Cine Deck w/ SI-2K's with Ari Presler from Silicon Imaging... I guess I had my own personal 3D workshop ;-) ok... back to your questions... changing the I/O in the manor of the Freestyle does not affect your stereo viewing in any way... same as if it where typical or side-side. The cameras will crossover to what you are calling negative stereo, this is designed that way by Philippe to accommodate the operators that fly goofy. Mainly for the ability to view the monitor, thats it. Have not viewed on Real D system, that of course has no relation to acquisition nor operation. very easy, done by sight, looks as if the mirror is a perfect 45deg from both cameras. Very well done and compact design. Yes and No. You are able to adjust the mirror along an xy angle, but not advised to move once set with the cameras your operating with. There is no rise on this rig, only a tilt for far/near alignment. I am pretty sure that only the top camera moves on convergence, but I could be mistaken on this point. The nodal point is just about where the gate on the camera would be, centered on the horizontal camera, this is could have a slight affect if you where pulling. -Alfeo