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.

Yeah, I didn't like the exposition in Psycho. Love the movie but the ending kinda sucked. I didn't need a doctor to tell me that a guy who digs up his mom and "talks and argues" with her, dresses up in drag and kills people is insane. Would be interesting to see that version of the Shining. One thing I would have liked is more extra features on the Kubrick DVD's. But that isn't going to happen unfortunately.

I've been told a bit of dulling spray and/or even hairspray can help bring down the light level of a car headlight. don't know if that actually works or not.

You probably mean conventional. Although I've seen some of the newer peewees have round as well as conventional and crab. I've heard about Panther dollies but I've never had a DP request one. The number one choice is usually Peewee. I'm thankful that it's rare for me to see hybrids because they are so friggin heavy.

Need any grips? :D As noted before are you going union? I know some gaffers in IA and some that are independent. You PM me and I could reel off some names and numbers.

Unfortunately everyone has horror stories like that. That's why I like union shoots so much because I don't have to worry about whether or not I get paid or not. I have had production lie to my face on many occasion. From saying "oh this is strictly a volunteer shoot" to "only keys are getting paid". Not smart since everyone talks to each other on set, as if I wouldn't find out other people were getting money. Sucks but that's the indie world. Producers know they can do that so they do. Like kit fees. Some productions I've worked on had a no kit fee policy. Productions know that if you won't take the job, someone else will. Yeah, sure they can go with students but product would suffer, plus someone could get hurt. I mean I wouldn't feel comfortable with a gaffer or key grip who's fresh out of school running the set with a genny or rigging really big lights over people's heads. My advice to the original question is to threaten to quit. You can be surly about it or passive ("I've got another gig coming up"). I suggest passive although I've been guilty of choosing being abrasive. But it's not easy. Especially when the industry goes through the famine phase.

Yeah, I'm not a huge fan of polecats either. Don't know the exact weight limits but from experience I wouldn't put more than 3 small lights (peppers up to a 1K light, kinos) up there. And that's assuming the lights are hanging straight down. If the DP/gaffer wants the lights armed out from the polecat, that would create more tension on them. Never really thought about the walls moving. Interesting. Have to keep note of that one.

I think it may get you more work but that's quite the investment. And like David Mullen said before, indie productions will try to hire you but not rent the camera (essentially a kit fee). I'm beginning to notice more and more (in TO where I'm at) that a lot of indie productions don't pay kit fees or if they do it's like pulling teeth. And they use leverage in that they don't have to hire you. That's how I feel anyway. Productions can say to me "sure I'll hire you but no kit fee. If you don't like it, I'll find someone else". That's why I try not to spend much on equipment, although $2000 or so is a good chunk of cash. Another issue is that not every shoot is going to use what you have. IMHO, I don't think you should get the camera.

Depends really. On what lights you are using and the ceiling itself. If the light is small enough, you may be able to use scissor clamps in the ceiling. Office buildings usually have this option available. PLus you can hide cables pretty easily. Another option is to use a wall spreader. You can hang heavier lights on this rig. Just be sure to find the studs on the wall :) If it's just kino bulbs, you could even tape the heck out of it to the ceiling. If you're lucky there may be girders in the ceiling where you can attach girder clamps (aka ibeam clamp) and pipe. I'd have to see pictures of a ceiling to be able to tell you. PLus dimensions of the place wouldn't hurt either.

Ceiling 18' you say? I would have gone with a 2k Boom pole and a skyhigh. And maybe a ratchet strap from the end of the boom pole to the stand. If that stuff isn't available I would have used a c-stand as the "boom pole". So you would have a c-stand as the base and attach another c-stand perpindicular to that one with a cardellini. A c-stand itself is more stable than a grip arm. And since it's not as sturdy as a boom pole, I would have probably have used magic arms or grip arms to stabilize it to the stand itself (kind of like what your gaffer did in the pic). Rig looks like it might hold but I would have gone for something better since there's dolly track on the ground and it looks like the rig might get bumped.

But I think it's a bit different for you since you're a DOP. In a way you're allowed to talk to the talent more than most people. To answer the question you answered, for the most part IMHO it's better to err on the side of caution and not look at them or say anything. You can't really tell who's approachable and who isn't so be careful. I remember a friend telling me that an actor passed by him once, cut him accidently on my friend's tool belt and tried to get him fired. It was barely even a scratch and it wasn't my friends' fault at all. And I've heard of one actor that does have the rep for firing people on the spot for looking at him. No kidding. On indie sets it's more relaxed and I usually end up talking to everyone, including the talent.