Daniel Wallens

Really, a babycake and a beaverboard (or pigeon on a pancake) are not quite the same thing. They are slightly different devices used for the same purpose. A beaverboard, (or pigeon on a pancake) consists, usually, of a 1/8th apple box (sometimes a 1/4 apple box) with a baby plate (with 5/8" pin) screwed into it. It is something made by grips on set. This item became so widely used that certain companies started to manufacture their own version of the beaverboard that comes with the baby pin already attached, permanently. This is a babycake, and uses a piece of plywood that is a little smaller than a standard 12"x20" apple box. There is a rectangular space cut out in the middle of it, in which the baby pin sits. Loosening a screw allows the small baby pin to swivel up, creating the beaver board. When not in use, the pin swivels down again, for storage. They are very handy items. Now, for the rant: Anyone who "disallows" the usage of this kind of terminology ("beaverboard" etc.) has, in my opinion, not been on many film sets and certainly has not been around many grips. Not only that, but he or she who feels they have the right or authority to "disallow" this kind of usage has no place on a film set. Grips, and film sets in general, tend to be among the most foul-mouthed places/people to work (with) in this country (second perhaps only to law firms). This does NOT mean that the people are bad, mean, disrespectful, etc. If certain people do not have the stomach for this, they shouldn't be working in production (or in a law firm) to begin with.* In addition, I have worked with many female grips who have absolutely no problem using terms such as beaver board, buttplug, etc. In fact, I've NEVER come across a female technician that had a problem with others doing this. It's about getting the job done, and knowing how to communicate in order to do so. If you’re too worried about getting the goodie-two-shoes upset, you're in the wrong business. *This being said, I do NOT condone (and think it is very wrong) to specifically target or make reference to anyone in particular in a negatively sexual way on set. There are sexual harassment clauses in most deal memos and contracts concerning this. They are there for good reason, and it is, most times, unlawful to conduct oneself in such a way.

We are not using the RED, but we've been using the new O'Connor 120EXe Encoding Heavy Duty head on The Good Wife for our B and C cameras. We haven't used the Mo-Sys feature, but the operators (and ACs) have all given it complete rave reviews, just as a head itself. It might be a bit overkill if you're appealing to the lower-end of the RED market, but is, apparently, a joy to use. I found a pretty informative article about it here: http://news.creativecow.net/story/862044 -DW

The size of the camera really doesn’t matter (unless it’s a big camera, then things have to be more secure/stable). But in your case, that’s not the issue. Like was mentioned in the linked threads, it really comes down to the particular case. How steady you want it, what’s the orientation, etc. Also like what was mentioned in the linked threads, balance is extremely crucial for when operating the bike. And naturally, anything you put on there will affect this. If your specific question is just naming certain clamps and whether you should use them or not, I’d say: you should not use mafers (they are among the weakest clamps); why would you use a mini cardellini as opposed to a regular cardellini? And most grid clamps have a minimum real solid closure of 1.660 OD (1.25” pipe), and most pipe clamps have a minimum closure of 0.75” or 7/8”. (but I suppose if needed you could put your own bolt in there). Since I have no idea what the size of the pipes are on the bike, I cannot make that decision. There may be some completely other, entirely different way to do it better (just long arms?). Like was mentioned in the linked threads, it really depends on the situation, and it is somewhat irresponsible to say definitively, “this is the way to do it” without having seen the situation, especially when safety is involved. I mean, I could say that, to steady the image, you can double-brace the camera with an additional arm, but you’ve had experience doing this, so I assumed you already knew this. But in terms of a general “how do I do this?” or “what’s the best way to do this?” I’m sorry, but there’s no one single answer. -DW

A simple search will tell you that this has been discussed several times before: http://www.cinematography.com/index.php?showtopic=41060 http://www.cinematography.com/index.php?showtopic=13133 and my post from way back; the shoot turned out really well: http://www.cinematography.com/index.php?showtopic=31673 Really, each situation is a little different. The general "how do I do this" questions, especially where there is safety involved, are the ones that get people into trouble. Get a good grip. Who knows what they're doing. Who is experienced. Do you have any specific questions? Otherwise, the best general information is pretty much what has already been posted. -DW

Everyone has their own method. This is what works for me. get a c-stand. put the frame in the c-stand overslung. take your roll of diff, and starting at the top, unroll it downwards. Take two #1s, and put them at the top to hold the diff on the frame, so it can hang freely against it. Unroll to the bottom of the frame, and slice it. Take 2-4 tabs of 2" tape, and tape at the top. Take off the #1s. Then do the same at the bottom, this time pulling it TIGHT. Then do the same with the sides. After its all been taped as tight as it can be with the tabs, take a 4' piece of 2" and run it along the entire side, pulling the diff even tighter. Pull as tight as you can. Dont worry, it won't break (unless it already has a rip/tear in it, then it WILL break). After this is done, label the frame accordingly, along with industry standards ;) Remember, when skinning a frame, the key is to make it as tight as possible. This is not something you will master from a website forum. It is something that needs practice and skill and your own way of doing it. Even experienced grips will vary in their frame-making abilities, and certain diffusions are more difficult to handle than others, simply by the nature of the different materials. Once you get a good one, though, you can put it in a thunderstorm and the only thing you'll hear is your c-stand blowing over. -DW PS: if you're ever worried about a stand blowing over, make sure you double-grab.

Not if you skin 'em right. -DW

The first question to be answered is, if you are key gripping this thing, why on earth are you dealing with generators at all? -DW (and really, this shouldn't be in the Gripping section)

Sorry, after "Get 2 pieces of 26- or 30-foot" there should be the word "pipe" or "speedrail." :)

Hey Onno, Good to see you around on the boards, buddy :) Before I answer as best I can, I should say that I am speaking from a north-east United States point of view. Here in New York may be different than what they use predominantly in LA, and also what they use in parts of Europe. I really have no idea what is available where you are in Holland. That being said, New York and the northeast DOES see a lot of production, and we have some very knowledgeable and skilled technicians here. What we use here gets the job done (most of the time) and, for the most part, it is tried and tested to a point we all know and trust. Now, onto the specifics: Yes, triangle truss is commonly used. However, it is used more for smaller/lighter applications, (of course) and is generally a more mobile option. Many grip trucks on larger productions will carry triangle trussmakers (pipe truss brackets) as part of the package, which enable triangle truss to be created with 1.25" or 1.5" schedule 40 speedrail. These are made by Modern Studio, and will create 12" triangle truss (if memory serves). Black steel pipe can also be used. This sort of setup is great for a throwing-a-12K-up-on-a-goal-post-real-quick-during-a-music-video kind of thing. Otherwise, you will mostly see 12" (fabricated) triangle truss, or sometimes 18" or 20.5" triangle truss. But usually, when they go that big, people just opt for box truss, which is typically stronger, and gives you slightly more options in terms of rigging. Box truss is generally not carried on grip trucks as part of a standard package along with the rest of the gear. When a show comes into a stage for a longer run (a feature or TV series, usually), it will generally be rigged with 12" or 15" box truss, and for larger applications, 20.5" box truss (and I’ve only very rarely seen 20.5"x30" truss). I feel like these last two (particularly 20.5x30) are used mostly for large arena situations. My work is generally in film and television and commercials/industrials, so I can’t speak to stadium/event/permanent applications. 1'x1'x1' is an extremely commonly used dimension. It is used for corners on box truss. It allows you to change the direction of the truss. As for brands, James Thomas exists here, and their SuperTruss is excellent. They use 6061-T6 alloy for most of their stuff. So does KR StageTruss. I have not used JTE’s general purpose truss, but knowing the company, I am sure it is very good too. Tomcat is also a very large truss manufacturer that is widely used here (they also make hoists). I’m not 100% what they use for their material, but I'd guess that they use 6061 as well. Total Fabrications is another one, and I believe they are based in Europe, but we see their stuff here too. Interesting about TF, they own a company called New Wave, which makes some very fancy, customized truss. You can get the main chords in all different patterns, finishes and colors – even a type of hybrid "fabric" on the outside. But, even more interesting is the material. They combine an aluminum alloy with carbon fiber, which results in an extremely light and tough material. I have never used New Wave trussing, but I'd like to see it at some point. Prolyte is another one (I think they are Danish??). They use 6082-T6 alloy on most of their trusses (X-30, H-30, H-40, S-36, etc), and 6060 on their E20 series, which is a general/multipurpose truss. I’m far from a metal expert, but my understanding is that 6082 is quite similar to 6061 (-82 might be slightly harder/stronger). Their heavy duty trussing uses bigger chords, I believe than what is standard. I don't see Prolyte as much on the east coast, except for one or two jobs I've done. Generally, but with some variation, box truss 12" and over comes with 2" OD main chords, with 50.8mm walls, and slightly varying inside/diagonal chords, depending on brand and model. I’m not sure if this will affect the manufacture of your TrussDolly system. -DW

True, you could lug a bunch of stands up there. Then, you'll have to lug a LOT of bags for the stands, then a LOT more sandbags to tie the frames down to (put tie lines on the frame), as I assume there is nothing up on the roof for you to tie the lines to. Then, depending on the time of day, you have to worry about light leaks coming in from between the frames and the roof, since the frames are no longer close to the roof, and are instead about 4 feet above the roof. Instead, here is the easiest, fastest, and cheapest way: Get your 20-bys. Get 2 pieces of 26- or 30-foot for each rag. Tie two sides (opposite each other) of each rag to the pipes, so you only have 2 opposite sides of the "frame." Place the pipes on the roof, but put a furni pad underneath each end of the pipe (4 furni pads per rag) so as not to "damage" the roof (not that anyone would see anyway). Throw bags on the pipe ends. Tie the other two sides (the sides closest to the edge) to a couple of bags. Done. If you really want to stretch the rag out, get some pipe flanges (50/T50 wall flange), attach them to some 3/4" or 1" ply (say a 4'x4' cut), and weight down/secure the ply to the roof. Done. -DW

Sure it is doable. Sure it can be safe. Get yourself a damn good rigging key. Or, depending on where you are, hire a company that will modify the car for you (I think there are several of these in the LA area). >>"Is there a kind of Rig that allows a platform to go out from the bottom of the car to operate from" Not really, unless you want to use an actual camera car (probably not the hero car you want to shoot). Don't build a "cage." Doing so only creates extra weight, and doesn't provide any extra real safety. Not even real camera cars, such as Chapman's, Shotmaker's, Filmotechnic's etc., have cages. (a cage would also just limit your ability to get a clean shot out of it in different directions). >>"are there any pictures/examples?" I sure hope not. For the same reason that I hope there aren't any pictures of tie-ins. -DW

Matt, I'd be tempted to choose your "Or another option entirely?" Honestly, the rig depends on which particular model of motorcycle used, how/if it's been modified, etc. It is important to have your rigger take a look at the vehicle beforehand, during a scout, and make decisions based on what he/she sees. They can see what's exposed, the sizes and rigidity of the parts of the frame, etc. This is NOT a project to have decisions made over the internet. There are too many variables, and too many things that would be very difficult to describe. Helpful suggestions and hints in the right direction, yes. But a list of what and how to, no. You can't connect to the handlebars, or the driver won't be able to steer/drive. At all. You can't just use bungies to hold the camera, suspended from above, unless you want it bouncing around all over the place. Fran's suggestion of Filmotechnic's gear is a different approach. The Russian Arm, or any other arm, be it Technocrane, Lenny, Shotmaker, or whatever, with any kind of stabilized head on it, will get the job done, but it will be a different shot. From what you describe, you want a rig that gets a shot that is one with the actor, that feels the bike's movements exactly as the driver makes them. A rig connected to the bike will do this; a separate arm and head, while it can stay close (get a damn good operator and driver) to the bike, will still not have that same close, "immediate" feeling and the same responsiveness than an attached rig (such as a doggicam or something you make yourself) will have.

I have done rigs like this. Most recently is one imaged below. However, there were a couple key differences: -the camera was a larger film camera. -the shot did not have to be 100% smooth, vibration free. -it was on a bicycle, not a motorcycle. One thing I will say: GET AN EXPERIENCED KEY/RIGGING GRIP IF YOU ATTEMPTING TO DO THIS WITHOUT A PROCESS TRAILER (ie, if the actor is operating the bike). Really, even if you are using a process trailer, they should be experienced, and really know what they are doing. If you don't get someone who knows what they are doing, there is the potential of them seriously injuring themselves and others around them, and also damaging a lot of expensive gear. Now, yes, a doggicam system is definitely an option. It will be expensive, but it will undoubtedly come out great, and your on-set grip department won't have to do as much of the manual labor (the doggicam techs will be taking care of most of it). However, you can definitely do it with an experienced and knowledgeable rigger and/or key. A few considerations: How fast the vehicle will be going. This may affect your rigging and safety issues (20mph affects the driver differently than 90mph). Moreover, this should really be done with a professional stunt driver. The balance and handling of the vehicle is completely thrown off by additional gear added to the system. Motorcycles are not originally made to have other heavy pieces of gear hanging off of them. Unless professionally altered (by a picture car company) the rig can be made dangerously unsafe. If the balance is thrown off, it's a recipe for disaster. Now, you may not be thinking "an EX1 and a cheeseplate isn't that heavy." But, you need it to be "smooth and vibration free." This will NOT happen with just a camera. You need a stabilized head of some sort, such as a Libra, Scorpio, or, at the very least, a vibration isolator. Otherwise, the frame will be jittering all over the place. These heads alone can be 50lbs or more, without the camera or lens system. One thing I will add: Do NOT use cardellinis to secure your mount. Cardellinis are fine for holding a b-board, or for steadying or for holding something in place. They are NOT very good for "high-impact" applications and where a lot of vibration is involved. Go with graded bolts and nuts, speedrail starters, beam clamps, cheeseboros, etc. These provide a much securer hold than things like cardellinis or maffers. -DW

Hi! Anyone working on this? :)

Not really. "Real" paper tape (used on sets) is made by companies such as ProGaf, Permacell, and A&E. Now, let me reverse, or be more specific in reference to your two questions: "Is it the same and will it work as an alternative to paper tape on set?" No, and perhaps. -DW

Sorry, but you won't see anything by Manfrotto/Bogen holding up lights or overheads on a "hollywood grade" film set. The only thing made by Manfrotto/Bogen you'll see on a decent sized film set is perhaps a magic arm holding an onboard LCD monitor to the camera. For 12' height, and if you want to put overheads up outside in any situation where there is wind, AND to be safe and feel "hollywood grade," get triple riser combo stands: http://www.filmtools.com/msehocotrri3.html These are the industry standard. You can also use beefy-babies (light stands) for not-as-high or less secure applications, and c-stands for smaller frames indoors. -DW

You can read my post and others on this topic here: http://www.cinematography.com/index.php?s=...st&p=241397 -DW

Yes, functionally, they are all basically the same. For standard c-stands (and its variations), I tend to like Matthews the best. Stay away from Norms. -DW

Hey all, anyone working on this? Cheers!

This is not specific. A "long reach" varies depending on who you talk to and the application it is needed for. Also, the longer the reach, the more metal there is, and the heavier the whole system is going to be to transport. Hence your problem with the ABC jib. That being said, check out the jib options from EZFX, with their MC100 head. It can be built in different configurations, has an optional extension kit, and is EXTREMELY easy to put together. You can get the whole thing with the remote head for under 5K, I believe. -DW

Heh, they're filming on everyone's street. Serge, new Sara Jessica Parker flick. No one?? :(

Really? You couldn't find an answer? http://www.cinematography.com/index.php?sh...ic=36430&hl http://www.cinematography.com/index.php?sh...07&hl=rates http://www.cinematography.com/index.php?sh...39&hl=rates http://www.cinematography.com/index.php?sh...51&hl=rates http://www.cinematography.com/index.php?sh...08&hl=rates http://www.cinematography.com/index.php?sh...49&hl=rates http://www.cinematography.com/index.php?sh...41&hl=rates http://www.cinematography.com/index.php?sh...36&hl=rates http://www.cinematography.com/index.php?sh...71&hl=rates http://www.cinematography.com/index.php?sh...54&hl=rates http://www.cinematography.com/index.php?sh...37&hl=rates http://www.cinematography.com/index.php?sh...57&hl=rates http://www.cinematography.com/index.php?sh...21&hl=rates http://www.cinematography.com/index.php?sh...82&hl=rates http://www.cinematography.com/index.php?sh...04&hl=rates http://www.cinematography.com/index.php?sh...60&hl=rates http://www.cinematography.com/index.php?sh...69&hl=rates http://www.cinematography.com/index.php?sh...83&hl=rates http://www.cinematography.com/index.php?sh...58&hl=rates Read all of that FIRST.

I wonder what's taking priority: The DP's talent, expertise and skill as demonstrated by his/her reel and past experience, or the type of prosumer cam he/she shelled out a few grand for a while back. (just going by the evidence in this thread, I'd have to say, yes, the gear, not the person). :huh: -DW

No problem :) If the unit has low nitrogen, this won't make a difference. When you "charge" it, all you are doing is compressing air into a cylinder. Heh, certainly wouldn't be the first time a fisher acted one thing one day, and another thing the next. So yeah, this is a big deal. Like Wick said, Fishers are extremely durable, but just like anything else, they need to be looked after. Schools are breeding grounds for crappy equipment. There may in fact not be someone at your school who is certified/able to handle the issues you talked about (both the servicing and knowledge of customizing the cueing). If not, call a local rental house that has fishers on site, and most likely, they can help you. Otherwise, you can call Fisher directly in Burbank. Alan there is very nice, helpful and knowledgeable. Correct. Good luck. -DW

Anyone working on this? just curious...