Wilkin Chau

I noticed another manufacturer of grip gear, Kupo. They seem to be cheaper than the usual suspects like Avenger and Matthews. Is the quality any good? I've read here some people like their grip heads and c-stands, how about their overhead roller stands (ie. skyhighs)? Thanks.

You can check out Whites.com and take a look at their package trucks for an idea. I'd also suggest some bounces and negative fill. Like a mirror board, 20X black, 6X butterfly kit and frame. Course when it comes to textiles it can get really really $$$.

A possible idea would be to rig the bike on a western dolly. Rent an item called a bike trainer, this thing (can get at a lot of bike stores) essentially makes a bicycle into a stationary bicycle. Ratchet strap the bike trainer onto a western dolly and the bicycle can attach easily to it. So your guy can pedal and steer the bicycle but he won't actually be moving. You can then either mount the camera if you want on the bicycle itself or on the dolly (on the handebars possbily). Course this means your grips will have to do the actual driving.

For Drop Ceilings I prefer using 2X4 (most guys use 1X3) wood, about 5 feet in length and use that in the ceiling with a 750 baseplate screwed into the wood. A couple of number 3 pony clips and you're good to go. I prefer it over scissor clips since it's easier to tweak the light without risk of it falling. Plus you can position the light a lot easier with 2X4 or 1X3 wood.

That is utter crap. Freebie shows have to understand people need to leave for some reasons (medical, paying gig etc.) I've had some freebie shows try and get me to sign a deal memo stating that if I get hurt on the show, they wouldn't have to cover for any expenses and aren't held liable. I refuse to sign those. i'm so sick of freebie features and low budget crap like that. "Doing it for the love of film" "You'll be so on the next one" I need to pay rent and make a living. I once had some people call me up during October of last year when it was filthy busy with the unions. They asked if I could work for free. I said no, since there's paying work to be had. They call again offering $50 a day, and then again for $100. They said, "well you'd be doing us a favour". Well it sure isn't doing me any favours. Even some of the lower end union work was pretty guaranteed $200 take home (and usually much much more), less work and better food. So to answer your question, run away from the production. Not one penny from your pocket should go to them. Especially since you are providing a service for no money. There are plenty of other freebie shows out there that don't try and push a stupid contract like that on you.

Here's one photo of the rig. I'm going to post another one. There's also a video on facebook of the rig. The first AC Jonathan took the video of it. I don't know how to post it but you can look up my name (Wilkin Chau). It's from the POV of the Tow Dolly looking at the car. Again special thanks goes out to Kerry, Billy, Ian and Raphael.

Thanks Dave. I went Friday to check out the tow dolly, Side and Hood mounts with Kerry.

I'm looking to see how other people rig the camera hood mount and side mount. Well, mainly the hood mount and wondering how people orient the 4 ratchet straps any differently (since the side mount is fairly simple with just one strap going vertical). I'm also not looking for the suction cup mounts. Never used those before but they scare me. Thanks

I have a rain jacket and pants bought from one of those outdoor stores (Europe Bound). Brand name I bought was Marmot, which is kinda like Gor-tex. Expensive at $200 for both pant and coat but cheaper than Gor-tex. I sometimes bring a baseball hat too because if it's rain it could still get in my eyes which sucks.

Another suggestion is since you're the DOP, try and hire the most experienced/best gaffer and key grip you can find. Are those positions being paid? It's easier knowing a gaffer/key grip who can help you along to light. One note though is try and get someone who isn't overbearing and controlling, otherwise you won't really learn much.

You can also use jacks (mainly used for scaffolding) drilled onto pads on the walls, much in the same way wall spreaders are used. Instead of 2X4's, you would use pipe. Since they are only kinos, using polecats are fine as long as they aren't in full extension. I find at full extension, they are very strong.

Exactly. Safety is a huge concern on sets. Even the most "mundane" ones take a while to do properly. Honestly, if I were the key grip on that shoot I'd refuse to try that (because I'd be liable if something goes bad). I can rig lights in dangerous places, but a person? That's a whole different ball of wax. That's why there are stunt riggers. Sure you can cheap out on some things when it comes to making a movie but dealing with a person's well being, you really shouldn't.

A couple other pointers. Try to avoid doing this feature during the busy season where you are shooting. You are more likely to get a sweet deal at Whites or PS if you are asking during a slow period (say December-January in Toronto). At times the guys practically rent out stuff for free....but only during dead times. Also, you are more likely to find decent crew during dead periods of the year. Since you probably aren't going to pay much it's better if you shoot IMO during a time when people aren't doing anything.

If you are a member of IA in a local (New york in your case), you can work as a permit in another. Some guys in TO who are members were/are considering going to vancouver because it's so much busier there.

Hi, There's a dolly move that I've done before but i haven't done it in so long I can' remember what it's called and it's killing me. It's where the camera/dolly moves to the left and the actor (on the other side of the dolly track) moves to the right (or vice versa and essentially the dolly and actor switch spots). So at the start of the move the actor is framed camera left and at the end he's camera frame right. So in other words, in this dolly move you don't notice the actual move as much because your eyes (as the viewer) are focused on the actor moving.