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.

I've recently purchased a 3 ton grip package. Although all the big stuff is there, including carts, c-stands, apples boxes, sandbags, etc. The small stuff is lacking (and the seller told me so).

 

What's essential as far as clamps, plates, grip clips, etc - you know, the stuff that will round off the package and is used on ever shoot. I shoot only narrative work, BTW.

 

I know this is a horribly broad question but any help is appreciated.

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.

Switching out your the bulbs should be your best bet if you really don't want to rig anything to the ceiling. Those modern fixtures are compatible with Kino tubes, although in my experience they put out a lot less light than with a proper ballast.

 

The ceiling you are talking about is called a Drop Ceiling, I personally was able to rig 650w fixtures to drop ceilings using Scissor Clamps. Although I am not sure what condition your ceiling is in so I would definitely take a look at what condition the supports/ crossbars are in.

 

Also I always attached the clips where the crossbars met and were attached to the ceiling, everything was very safetied off and gaff tape was wrapped around the clip/bar to make sure it could not come undone.

 

Best of luck to you

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.

I am considering jumping on a 4-day freebie but felt some apprehension after meeting with the director and producer. I am full aware this is a decision I will have to make myself, but I'd like to get your thoughts about the situation.

 

The production company is shooting some opening scenes for a feature to raise money. The deal is I work for free on the 4-day shoot and in exchange, I would be reserved a spot on the crew (with a very low day rate) when the feature goes into production later in the fall. My first question is: is this arrangement a common occurrence in our line of work? And if so, how realistic are the chances of 1) the film actually getting funding and 2) getting called back?

 

Secondly, I was also given a document to sign which states that should i flake (for any reason INCLUDING medical), I would be responsible for paying a certain fee. It was presented to me as a way to "cover" themselves since someone who had signed on previously had bailed for a commercial gig. I guess what irks me here is that they're already asking for a HUGE favor and still expect you to drop everything. As most of you are experiencing, things are really starting to pick up here in NY. 4 days over a weekend in April can mean a good chunk of change, maybe a couple of months rent if you're really lucky. Don't get me wrong...it's not always about money. But after a slow winter, you kind of want to get as many days as possible.

 

They told me they were shooting with the Red. I haven't seen one in action yet, so that might be cool to experience. I'll be meeting some new folks which is always a benefit in this business. And I get to be on location in CT (yaaaay! :P ) I haven't read the script yet, which may ultimately be the deal-maker (or breaker).

 

What other factors weigh into your decision to work pro bono?

 

ps - Any chance that someone on the forums is working this job too? I'm pretty sure it will put my mind at ease.

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.

If the man weighs 200 pounds, something goes wrong, and he drops on his head - it will be the same Physics as dropping a hard, 200# weight on his head from two feet above. If you think that's safe, I suggest you test first by dropping a weight on your head under the exact same conditions. :(

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.

A little help would be great.

 

How would you go about getting work in Canada film Industry if you are from New York City, NY?

 

Does our unions speak with their unions?

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.

Blame the Kubrick estate more than Warners Home Video -- Kubrick was not interested in seeing outtakes, alternate foreign and pre-release versions, behind-the-scenes footage, etc. (other than the footage his daughter Vivian shot for "The Making of The Shining") appear on his DVD's -- let alone letterboxing to the theatrical ratio! -- and since his death, it's been a slow process getting away from his original wishes. Now we're starting to see some changes, like widescreen for the HD-DVD of "Full Metal Jacket".

 

Even the original release of the DVD Box Set using the old transfers made in the early 1990's supervised by Kubrick for the laserdisc market was due to following Kubrick's request, since he was too busy finishing the post for "Eyes Wide Shut" to supervise new transfers of his old movies. It was only after customer complaints that new transfers were made for the second release of the DVD Box Set.

 

But I don't really blame Kubrick for just wanting his final edit to be on DVD rather than pre-release and preview versions, or outtakes (like the infamous pie fight at the end of "Dr. Strangelove" or the 20 minutes that were cut from "2001" after the premier but before the general release.) It would be interesting to see them, of course, but I don't think the movies suffer from being shown in their final release form (except maybe the U.S. censored release of "Eyes Wide Shut.")

 

I certainly don't want the alternative hospital ending cut back into "The Shining" -- the current edit sounds so much better, cutting from Jack's frozen face to that tracking shot down the hallway that discovers the photo of Jack in the crowd of 1920's partygoers. The hospital scene sounds too much like the end of "Psycho" with the psychiatrist explaining everything for the viewer.

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.

If you need to see the headlights close, after they turn off, there isn't much choice but to raise the light level overall so you can stop down the lens. Or use the Zeiss Master Primes, which are near impossible to flare.

 

Otherwise, you could try ND hard gel, which may look neat enough to be acceptable when the headlamps go off.

 

If the headlamps don't go off, you can also use scrim material like Rosco scrim, or Black Streaks-N-Tips.

 

It is possible to dim a headlamp in theory, although the color would get warmer.

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.

One point that makes chapmans dollies superior to the panther is the ability of changing from crab to steer (if my words are correct ?) during the take.

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.

I hate it when producers pull this kind of thing. I once signed onto a low-budget feature as an electric - I should have listened to the warning signs early on. It was a last-minute call, and I didn't see a single sheet of paper, deal memo, call sheet - I saw nothing on the first day. It was "meet here at this time" over the phone by the best boy electric, with a promise from him that I can expect around 150 a day.

 

A 16-hour day, and no money. I'm talking with - whoever it was that showed up at the end of the day - line producer, UPM - it wasn't THE producer, I know that much. I told him that I was promised 150 a day.

Oooh, that's a lot of money! Someone promised you that? Yeah we can't afford that. Tell you what, I can give you 100 a day for maybe a little while, but not today, I don't have it today. Come in tomorrow, I'll pay you then.

 

Sound a little sleazy?

More warning signs. Some people may have considered bailing at this point, but I needed some quick cash, so I worked the second day. Early on day one, I had my reservations, so I began planting the seeds for a possible bail. "I have another shoot" etc, "I may need to take a couple weeks off, maybe I can help on weekends," etc.

 

At the end of the day I had to practically wrestle the cash from the producer. It came to 50 bucks a day. Two long days, at only 50 bucks a day, and he mentioned that that would likely be the last he'd be able to pay. After that it was volunteer.

 

I'm telling you this kind of abuse is outrageous. I completely understand how tough it is to produce such a low-budget feature, crew is a really really tough thing to manage, and it can get expensive. And I have to say I felt terrible about bailing on the lighting crew, but the best boy promised me pay, and obviously he didn't know what he was talking about. The entire production was so unorganized - I felt I had no other choice.

 

So many people get taken advantage of by the producer who I think generally feels he has "bigger fish to fry". There's this ASSUMPTION that you can get volunteer crew on any no-budget production, kids fresh out of film school hungry to get on set. But they get little out of it, and really it becomes this dangerous assumption made by the producers trying to shave costs.

 

At least it was catered!! They spent more money on food than they spent on crew.

 

When you get into productions on these kinds of budgets, consider it the part of the filmmaking map labeled "Here by dragons". Proceed with caution.

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.

It looks like an older type of c-stand too.

 

I have personally had bad experiences with wall benders/ wall breakers/ auto poles/ pole cats.

 

Tip for the young players I have learned the hard way, Kitchens have a greasy film on the walls which make it hard for the pole cats to stay. Older houses can move, someone stands in a particular spot and the flooring, and then walls will move. Pole cats will for down at the most inopportune moment.

 

Does any one know the specs for pole cats? e.g.: Polecat extended at "x" distance should only bear "y" amount of weight.

 

G. McMahon

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.

Hello everybody-

 

I'm considering buying a camera - making a large investment $20K or so. Have people found that owning a camera contributes to more work?

 

I'm thinking about a S16 camera - I'm far more interested in feature work than music videos.

 

Of course in this day and age, perhaps the HVX is the better way to go. I'm certain it would help get me work, but perhaps not the kind of work i want.

 

Do folks have any thoughts or suggestions.

 

Thanks,

Elliott

 

Los Angeles

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.

Just curious, what would be the normal method to fix a light to the ceiling? Looking at my own ceiling, there's a few lamp fixtures, and a circular air vent which may be the best bet for looping some wire around and tieing something to...but it seems like that would be even harder and sketchier than this setup.

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.

You have to play it by ear, so to speak, because half the time, the actor is trying to prepare for the scene and shouldn't be disturbed. But saying "good morning" to them as they enter the set, whether that leads to some chit-chat, is generally fine, even good manners. I've had actors complain that I don't talk ENOUGH to them on the set -- I get a little wrapped up in problem-solving and forget to socialize enough.

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.