Tshaka

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.

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.

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.

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.

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.

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.

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.

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

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

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

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

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

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

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....

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

I don't expect you to remember working with me David but I would prefer that you be less critical of my name. Tshaka with a capital "T" is my name. It is the name you can address me by along with everyone else. There is nothing confusing about it. Co-workers, clients friends and family call me Tshaka because that is my name. Certainly it is not a common name but you are educated and savvy enough to recognize a name that is not of English, German or Biblical origin. You told me your first name once and although I don't remember it I do remember it was not a common name. I did not find it confusing at all. Tshaka

This is a tall order but not impossible. I was just thinking on a big budget scale. There are 40' diameter Turntables but I don't think they get bigger than that. A 40'X24' stage wouldn't fit on it and it's probably expensive. It would probably be easiest to move the stage and the band than move a 40'X80' greenscreen. Instead of striking and reseting the stage and instruments you could build the stage on wheels and push it into a new position. Things to consider with this option is damage to the paint job on the floor (which may not be an issue since the stage is the new floor) and securing the instruments so that they don't fall over while the stage is moved (sandbags/ screwed in/ ratchet strapped). Of course it would take everyone's help to push it but it shouldn't be too difficult. Obviously the band doesn't have to be on the stage while this is happening. The Staging system that I'm thinking of for this is Steeldeck? available from the company of the same name. Completely modular system easy to setup, strong and very heavy. Get a professional crew who knows what they're doing to set it up. If your Key Grip is familiar with it already then you're in good shape. It also falls under the knowledge base of the Art director and his crew. The stage shoud be put together during the later half of your pre-rig day. Steeldeck? sections come in different sizes and the largest size is 4'X8'. It looks like you need 30 Steeldeck? sections to make the 40'X24' stage. It uses the same wheels as scaffolding parallels. Check out the website www.steeldeck.com and see for yourself. The moveable greenscreen option may prove to be even more expensive and laborious. When you're dealing with Overhead rags that size on a soundstage it is best to use a Truss frame and Motorized Chain Hoists. Just the 40'X80' rag is pretty heavy and awkward to handle when folded. If the soundstage has motorized I beam Trolleys you could hoist your frame up from one side of the set, move the I-Beam trolleys over and lower the 40'X80' frame onto the other side of set. Pretty cool, huh? Except it sounds expensive and impractical. I really like the Steeldeck? idea. It's simple and efficient. Also it's relatively cost effective. Your Key Grip might have an even better idea though so I'd check in with him too. You know the production designer/art director is another good person to check in with. What do you think? Tshaka

Put the band on a large turntable. Is that a realistic option that you can explore? Did you hope to use the 40'X80' Greenscreen so that you could move it around? Can you film the music video in 2 to 3 days or is the plan to do this in one day? I'm not sure if I'm helping you with all of these questions. Tshaka

First thought that came to mind: If you're going to buy one or the other definitely get the Cartoni Lambda Head. It will be easier for you to rent since it has fast become the industry standard. The Weaver Steadman is very rare these days. I'm still a fan of the Weaver Steadman but I am also a fan of the Lambda. I'll order a Weaver and Production or the Camera Department will opt for the Lambda and they'll get no argument from me. Both are great systems. The Lambda is relatively new technology and it does what new technology should; it makes the job simpler. Ronford 7 is a fine head but it's not really standard and has fallen under the category of esoteric equipment. I have never used a Panaflex or Arricam on a Ronford head but I don't see why it wouldn't be able to handle those cameras. As far as comparitive weight between the 2 heads I think it's a non-issue. The Lambda, as the heavier of the 2 heads, works well with jib arms, cranes and crab dollies. Oh yeah and Tripods too. The Lambda is faster and easier to set up. It makes fine tuning a snap and it's popular. Not to mention Millenium Grey seems to be the new Black. Besides when the new 2/3 Axis fluid head comes around it'll be easier for you to sell the Lambda and make the upgrade. If you are you going to buy a Fluid head get the Lambda. In this case you get what you pay for. Otherwise continue to rent if you feel the greater cost is prohibitive. There's nothing wrong with renting equipment. Tshaka Grip

Spoke with a represenative of Tomcat Global USA today. They called me back after checking with [ I assume] the shop staff and told me 80 ft/lbs of torque. Really good of them to make time for me since today was a big inventory day for them sprinkled with meetings. Just to review I asked them only about the lightweight aluminum 12"X12" General Purpose Box Truss that fastens with 5/8th Bolts Grade 8 (15/16th Bolt Head). I got the sense that they fastened a couple sections of Truss together using a torque wrench until it was tight to what they know feels right and then they called me back. I didn't ask if that was in fact what happened. To be honest I didn't ask very many questions after that because it was the final work hours on a Friday afternoon before labor day weekend. They really had a lot to get done too. Honestly I felt the question was somewhat trivial and not worthy of lengthy discussion. We could explore this further and call other manufacturers.... I am satisfied. Also after speaking with co-workers (Grips), Mentors (Grips), and Arena Riggers the general consensus is to fasten the nuts and bolts until they feel secure without stripping the threads. This is how I learned and how I've always done it. I plan to continue doing it this way. So 80 ft/lbs of torque. Tshaka

The only 2 ways I know to approach this is a painted cyc or a large fabric greensreen. I wish Brad Rushing were reading this. He and Mike Dronge would have an answer for you based on old fashioned experience. Well these days ultimatte is incredibly advanced and forgiving. Are you going to be outside or on a stage? You could skin 2 40'X40' Greenscreens together on a 40'X80' Frame. Speedrail or Truss Frames would be your choices. I'm guessing you would probably opt to go with speedrail since your budget seems to prohibit you from painting a cyc. If you use Speedrail you would have to reinforce the 80' sides with 40' uprights spaced at least 20' apart (This already sounds time consuming and labor intensive). The 2 40'X greenscreen rags can be butted together using lumber and spring clamps. Sandwich the 2 inner edges together and secure with the spring clamps. Fasten the frame directly to the grid using either cheesboros or dedhang it with manila rope or chain. However your Key Grip seems fit (He probably would prefer not to do it this way at all.). You could track down a 40'X80' greenscreen and have them ship it to you. Or you could have one custom made for you. It's really an option to consider. if you do it this way I think a Truss frame is the way to go. Check in with Modern Studio Equipment about the availability of a 40'X80'. If they don't have one they might know someone who does. Also check in with Jirier of Equip the Grip Rentals (Pretty much the same as Modern except you can rent Modern's products instead of buying them). Excellent customer service. Modern Studio staff and owners are paragons of customer service. They are my model for being a better Grip; the kind that works to solve problems and accomodate the client's needs. I really think you should just paint the cyc. I know it's very dogmatic but it works. Is there a reason you don't want to do that? I can't wait to see the responses to this post. My imagination is so limited by conventional approaches to this particular problem. Good luck with your production. Tshaka

Spoke with a Director of Photography recently and he mentioned his experiences in Greenland. I think it was Greenland. He spoke very well of the lighting technicians over there. Those guys are the experts on filming in, around and on top of ice. Apparently they have some unique methods. Grip wise I say trust the locals. A good Production Manager will hire a good Grip Crew. A good Grip crew will work hard to help you build your photographic ideas. Yep. Trust the locals. That is pretty vague isn't it? Well it is a forum. Where is this Glacier? Maybe one of those locals is reading this. Tshaka

Tshaka is my real name. This post is addressed to manufacturers as well. It's in the heading. As soon as I learn more information from the manufacturers I'll post it here. Thank you for the attention. Racing sports cars must have been exhilarating.

Thanks Peter. What is your source? So I've asked a few other grips on set what their thoughts were on the topic. The general consensus is to fasten the bolts firmly and not to strip them. Different grips on different sets agree. It's a dry topic. I also realize this is a fairly obscure subject. It's more trivia I guess. I'll post here if I find out any more on the topic. Tshaka