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About Tshaka

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  1. Wouldn't it be cool if there were more visual responses to questions like this? For example a link to a short video or a series of instructional photos. Best wishes Tom. Don't forget to safety your light and barn doors.
  2. Yes Microwave is a Shiny Silver Griffolyn also known as a Silver Grifflector. It's not like Ultrabounce. Silver Lamé reflects a less intense, less specular quality of light.
  3. Whatever you decide Markus take photos of your final rig and the process of building it. I'd be interested to see what you did and how it worked out. Also take photos of the Rig from the Set and Camera Positions. I would like to see how the end product benefits the images and the camera work.
  4. http://www.cinemagadgets.com/images/008_1873.gif The HVX is lightweight enough to mount with a C-Stand and sandbag using the Digital Camera Starter, an Aluminum Baby Pin with a 1/4-20 Male Thread. The Digital Camera Starter is manufactured by Modern Studio Equipment and available for online purchase from www.filmtools.com and www.cinemagadgets.com. Mount the HVX anywhere you want. A Cardellini clamp on the HVX Handle will work too.
  5. Michael what we normally do is use black pipe (steel) like Jon suggested when weight capacity of the Speedrail is a concern. The 2 most common sizes we use are 1 1/4" Schedule 40 (like the Speedrail you're used to seeing) and 1 1/2" Schedule 40. I'd prefer to use the 1 1/2 " because it's more rigid and the span is long but 1 1/4" is fine too. You can use the sleeves (what you call a "coupler") with black pipe as well. Just make sure you get the corresponding sizes (1 1/2" Sleeves for 1 1/2" Pipe). As far as stands. Hi Rollers will work but if you can manage it then why not use 3 Riser Strato Cranks for the goal post with the lights? The Crank Stands make it easier to raise and lower the lights and they're sturdier. Speedrail should be fine for the goal post with the Beadboard. Hi Rollers too. Michael you could also use Truss with the 3 Riser Strato Cranks for the goal post with the lights. That's what I'd opt for if it's a practical choice for your job.
  6. I like the Straight Shootr? (www.straightshootr.com) especially for the configuration you've described. It's solid and easy to setup but it's one piece (8ft long) , not including weight bar with free weights, and takes 2 people to setup. Linear Slider is built in and Mitchell Mount is easily switched from standard to underslung configuration in seconds. Maximum capacity is 100lbs for the Camera and Nodal Head Combination (2 Axis Weaver/Steadman 18lbs, 2 Axis Lambda 46lbs). I don't like the Intel-A-Jib, the EZFX Jib or the Porta-Jib for this configuration when there are more rigid alternatives available. Never used the Trovato but it looks similar to the Porta Jib. Although I've never worked with the Aerocrane Jib it looks very capable and seems to be on par with the Straight Shootr. It also has an Aeroslider option which is great. It seems more versatile than the Straight Shootr. Seems like you should be able to buy it. I also like the Chapman Stinger Jib System and the the JL Fisher line of Jibs but those aren't for sale; lease only.
  7. It is possible to mount a Fisher 21 Jib to a Chapman Pee Wee but not in the way you are thinking. Chapman has a "High Post Assembly" which is similar to the Fisher Center Mount. This is what you should use to mount the jib properly. There is an image of Chapman's High Post Assembly in the Stinger Jib Manuals on the Chapman website. The Chapman High Post Assembly should be available from Panavision New York and may also be available from Camera Service Center (CSC). Make sure they show you how to set it up.
  8. Hello Dave. Have you tried www.theslider.com. I'm not entirely certain if www.supersliders.com is a manufacturer site but there's contact info for you to follow up. Also there's www.jbslider.com. I've used Modern, The Slider and Klassen's original Side Step I (not a linear bearing bed). The new Side Step II is very sexy and the price does include a hard travel case and additional Mitchell/Euro mount. The price is much too high for me also. High prices are usually offset for me by the rental potential of the gear. They could still come down a couple thousand. I love Modern's Slider. It works just as it should. No frills, no fuss, fair price. They will make custom lengths for you without "custom" costs. The Slider has a new generation of sliders shown on the website that has a few design details that I really like. All sliders are basically the same but this company has cut out holes along the sides of the channel and 3/8th holes on the bottom. Slider's now lighter as a result and there are more rigging possibilities. The path of the sliding Mitchell is also engraved with indexed markings a good feature for Tabletop that's also sure to make the job of the AC and Camera Operator that much easier. There are a few other features but those stand out for me. I used this slider recently. CSC carries it here in New York. Basically the more people you impress the more likely you are to be called. I hope this is helpful. Good luck with everything. Tshaka
  9. Hi Glenn. I apologize in advance for using your post as an example. There is a growing misconception of what Grips are responsible for. This post about Fluid Head Maintenance and a separate post about Panahead maintenance are not relevant to what Grips do. Those things fall under camera equipment and are usually handled by maintenance/repair technicians at rental houses. There have been other posts that address issues which fall under Post Production Effects. It makes me question if anyone on this forum has a clear idea of what Grips do. Who are the grips on this forum? Tshaka
  10. Hello Riku Naskali. First thing you should know is that flying people is a separate discipline entirely. We leave that up to Stunt Riggers. They know that stuff inside out. Second thing to also be mindful of is that there is without question ABSOLUTELY NO "LOW BUDGET SOLUTION" WHEN IT COMES TO RIGGING HUMAN BEINGS. Instead you make up a budget to do it the right way the first time everytime. Leave it to the competent professionals. When researching costs be sure to weed out the charlatans and the crooks. That said, with situations like yours Grips have erected temporary structures for Stunt Riggers to work with. Keep in mind that Grips are service providers more so in some cases than others. Any plan devised by the grip in a situation like yours must be approved by the Stunt Rigger. On some shows it's a collaboration between Grip and Stunt Departments. On a show like Fear Factor all of the Challenges that require Rigging are setup by Stunt Riggers. In your situation I would consider using a Truss goal post. Not knowing the details of what it is you're attempting I'm going to stop there. If you haven't done this before and you are not qualified to do this then get a competent professional. You will benefit tremendously from it. Don't take unnecessary risks. I hope this was helpful. Tshaka
  11. Hello Mike Sorel. I agree with Thomas. Wall Spreaders are the tried and true option. I try not to use them on spans greater than 14 feet without screwing them in but that's a personal and general rule of thumb. Wall Spreader sets are available for 2X4 and 2X6 stick lumber and also for Speedrail (1.25 inch Speedrail is most common). There are also Telescoping Speedrail Wall Spreaders available that work similarly to Polecats (aka Auto Poles). While I am a fan of Polecats I use them sparingly because they are not as reliable as Wall Spreaders. Many of us don't realize that Polecats were designed primarily for vertical, floor to ceiling, installation rather than horizontal, wall to wall, installation. Alex's suggestion of the Polecat is also a good one but only in certain applications. Both Wall Spreaders and Polecats are easy to use but require knowledgable hands to install. When installed correctly the possibilities are liberating but when installed incorrectly the results can be calamitous. It's a good thing you have a competent Grip on the job with you to process the details of the installation, survey the location and consider some of the physical requirements of the lighting plot like the number of lights and their weight. There may even be more options available to you beyond the Wall Spreaders and Polecats that may include joint effort between the Art Department and Grip Department. I know your Grip will have some insight. I hope this is helpful. Tshaka
  12. Hello Mike. If you do a google search for straight shoot'r it will take you to www.straightshootr.com, the manufacturer's website. I like this jib arm and I often work with it on commercials paired with a Weaver/Steadman or Lamda head. It will mount directly to the Mitchell base on the arm of a Fisher 10, no Center Mount necessary. Most DoP's like the freedom this setup gives them either for handheld moves, easy camera positioning and table top work. Here in New York the Straight Shoot'r is exclusively available for rental through Panavision New York. However there are individual Key Grips who own the Straight Shoot'r as well. See you around. Tshaka
  13. My experience with Silk is that it cuts light value by about 1.5 stops and difusses the source over a great area but with a dramatic falloff. The Silk does introduce a good deal of ambient light. It's as if you had a bucket full of soft white light and you poured it out onto everything. Well that's not entirely accurate. I have never used or seen silk on a gel roll. Also I have only used Black Silk a few times. Black Silk was made to minimize the amount of ambient light introduced by the (White) Silk. Other Silks out there are China Silk(1 stop loss) and 1/4 stop Silk (1/2 stop light loss). The grid patterns in the Grid Cloth diffusion are intended to focus the source and not take away too much from the throw of the beam. Full Grid seems to cut exposure by about 2.5 stops. Light Grid (1/2 Grid) is about a 2 stop loss and I think Quarter Grid is actually the same as, if not a little less than, the stop loss of Silk, 1.5 stops. The general diffusion quality of Grid Cloth seems to have more definition than the Silk. There also doesn't appear to be as much ambient light introduced with the Grid as there is with the Silk. Of course that's just how I remember it. As far as the frosts they blend the light subtly and minimize the harsh quality of light. Falloff is practically a non issue. I can't get too specific here since Frost describes a family of diffusions and not a particular diffusion like opal or hampshire for example. I haven't experienced any differences between Rosco and Lee diffusions. Dan Madsen mentioned GAM's diffusion, Gamfusion (some people call them GAM colors). GAM has its own type of diffusion and its own rating system. It's worth looking into. I haven't heard of Apollo. Darrin Nim also made a good point about color temperature. Diffusions do tend to add warm tones to a light. How the film sees it is another story. That's my experience. Testing for yourself is a great idea since my experience is more intuitive and less scientific. I haven't perceived any differences between Rosco and Lee diffusion but who knows there might be a few. Yeah. You really should do that test. You always walk away from that with your own understanding of it and that's a great thing. Later Tshaka
  14. Hey Rizzi I have some more interesting and pertinent information for you. There is an explanation so bear with me a moment. I was speaking with a very knowledgeable and seasoned co-worker named, Rico Sands, briefly about Greenscreen a few months ago. He was telling me that Digital Greenscreen doesn't seem to exist here in NYC. At first I didn't know what he was talking about because I could have sworn that I did jobs where the DoP specifically requested a Digital Greenscreen and there never seemed to be a problem. Apparently there is a communal ignorance in effect here. The only Greenscreen Butterflies and Overheads I have ever worked with are made from a material with a foam backing called Tempo. On past jobs when we all thought we were using "Digital Greenscreen" we were actually working with a Tempo Greenscreen that was more fluorescent than the Chroma Key Green also made out of Tempo. We just thought the more fluorescent Tempo was what made it Digital Green. As Rico explained, the difference between Greenscreen and Digital Greenscreen was that Digital Greenscreen is more fluorescent than regualar Greenscreen (Uh-huh, yeah Rico tell me something I don't know...) and it is made of an elastic nylon material that doesn't have a foam back or grommets (HUAH?! You don't say. Never seen that before.) I never interrupt people when they're explaining something to me even if I think I already know because chances are even if I do know, which I didn't in this case, I'm still going to learn something new. It doesn't matter who it is. So, no grommets on the Digital Greenscreen. Instead you use Garter Straps with ties to stretch and attach the Digital Greenscreen to a frame. This is the same material that the Greenscreen body suits and flag and sandbag slipcovers are made out of. Apparently it's lighter and much easier to handle than Tempo Greenscreen. Fascinating stuff. Follow the web address below to a company located in L.A. for more information on Digital Greenscreen. It's very informative. Also to answer your original post question it's where you can find really, really big Greenscreen. They'll probably be able to answer every other question you might have on the topic. Keep us updated. Why don't we have that here in NYC? Spread the word because it needs to catch on over here. Digital Greenscreen - Composite Components Company Check out the section named T Matte Technology for a little history lesson. I hope this isn't too late. Tshaka I don't know what you guys in L.A. must be thinking right now....
  15. You don't pay my fees Tim. No offense taken. Tim you don't even know everybody represented by a full name. It's very likely that there are other Tim Tyler's out there. I replied to your earlier email sent directly to my account. I'll post that reply here so that the other members can see. Agreed. In it's most empirical form what is the purpose of that rule? Does my presence in the forum disrupt that purpose? The following is an email reply sent to Tim Tyler: Tim if you're ever in New York and you ask within the industry for a grip named Tshaka you'll find me. Tshaka is my real name. It is not a nickname or an alias. I haven't abused the freedom to post my name with clever names like Gotham Grip or New York Hammer. So why the big push all of a sudden. I've been on and off of this forum for years. What happened? Well I'd like to believe that I have been a courteous, responsible member of this forum with valuable contributions to discussion particularly in the area of Grip. If you feel you have to boot me off then I respect your decision. It is your forum after all. It's a shame because just as you finally got around to including a Grip section you also felt it necessary to rub me off the roster. I've worked with David Mullen before on a couple of jobs whether he remembers Tshaka or not is another story. I'm the real deal. A professional New York grip with a shared interest in cinematography and love for storytelling, photographs and movies. Cheers Tshaka > From: "Cinematography.com" <info@cinematography.com> > Date: 1 Sep 2006 10:05:43 -0700 > Subject: Full Real Names in the Forum ( Cinematography.com ) > > Tshaka, > > Please make sure your forum display name is your full real name. > > The required format is your first name followed by a space followed by your > last name. Please capitalize the first letter of each. > > Accounts that do not comply will be removed and cannot be re-activated. > > Thanks. > > Tim Tyler
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