Daniel Wallens

Yep, right there on the Fisher website. ;) Your Boom Issue- I'm not on your set, so I can't say for sure. Like Jake said, make sure your tank is full (obviously). However, if you have not made a first-time-on-a-set mistake, from what you describe, it is most likely low nitrogen. This is a compressor problem, and cannot be fixed by you on set. It must be fixed at the rental house or at a Fisher service center. To check the nitrogen level- 1- empty out the tank so that your dial reads zero (boom up and down until you have nothing left, apply weight on the boom if necessary). 2- when it's on zero, plug in the dolly and turn ON the compressor for THREE SECONDS (count to 3 out loud). 3- check your dial. For a Fisher 10 it should read 1000psi. Anything less and you have low nitrogen, and it should be serviced. Keep in mind that it is pretty exact, so look at your dial carefully. The Cue Dials- These dials, which are usually "locked" together (not really though) with wire or something similar when they come from the rental house, are NOT for feathering the boom. (feathering the camera is a skill that a good dolly grip has). Underneath these knobs are springs, which allow the hydraulics to be sent to the boom control knob. They are used to adjust the sensitivity of the boom control knob (meaning, at the start of the turn and end of the turn). Most of the time when playing with these cue dials, people just screw this up, and then they cannot boom any more. These are NOT to be touched on set if you don't know what you are doing (hence them being wired together). Doing so will screw up your boom control, and you will no longer be able to boom. Then you'll be stuck on set, and having the rental house talk you out of this over the phone is difficult, because they can't see or feel the cue knobs or pressure on the boom control knob. If you need the boom control knob adjusted and don't know how to work the cue controls, do it at the rental house during your dolly checkout so that one of the techs can assist you if you mess it up. -DW

http://www.mdrpg.com/office.asp Call them. Commissions are usually more helpful on the phone than their websites are.

Pretty much all fiber-based fabric material used for the film and television industries are treated with flame retardant. In fact, I think (but not 100% sure) it is technically required by law to have ALL fabrics (drapes, window curtains, etc.) treated if they are to be used in any operating studio, at least here in NY state. That stuff that you want to buy off of Amazon, probably is NOT flame resistant at all. -DW

Black silks are pretty common. Not everywhere, but in any very complete kit, they are usually there. Black silks come in: artificial (full) black silk (cuts 1.8 stops) and china (full) black silk (cuts 1 stop), as well as 1/2 and 1/4 varieties (cuts .7 of a stop). I notice the blacks tend to give the light a much more subtle "glow" than white silks. Electrics handle scrims ;) -DW

Either will work. Sprite (diet and regular) both become sticky when they dry. I believe Jason was referring to my and robert duke's posts, which can be found here: http://www.cinematography.com/index.php?s=...st&p=241397 http://www.cinematography.com/index.php?s=...st&p=220567

Any of that is easily found with a Google search (as well as musco). (also keep in mind that many lights, all different types, hang, spacelights included). Regardless, it doesn't so much matter if you know how many watts, how many lights, or what size they are (again, all found online). What matters perhaps more is if you know how to use it. Photometrics is very specific, and naming other things having to do with cinematography won't really help you gain better understanding. Experience, on the other hand, will (and in this particular case, reading will help too). The point being, don't try to fool the pros. They will know how much you know VERY quick. The most basic, beginning terms (ie, double riser, 1K, 2K, CTO, ect...) are pretty much understood everywhere, east coast, west coast, and even abroad.

James, I think I understand what Chris is saying. He is not saying it to be mean, or to put you down. He is saying it to help you. You graduated this (academic) year. That means you aren't a "professional" anything yet. A professional is one who makes his/her money and their living from doing just that. It's their profession.You have been a student up until a few month ago. I started work in the theater and film industries since I was 15 years old, and still didn't call myself a "professional" once I graduated college. Aside from the simple money aspect, you probably don't have the set of skills that qualifies you to be "experienced." This only comes from years of said experience, on sets of varying size. If you are a "gaffer," you should have some idea of photometrics, know what a musco or ruby 7 is, how to balance loads when using 3 18Ks, 8 6K spacelights, and an inkie, know what the first thing the best electric needs to do when the truck arrives on set, and a million other things (I am not a gaffer, as you can tell). If you are a grip, you should know how to operate condors, know what you use to rig condors and how to rig them, know what to set up around the village if shooting outside in the daytime, know when to use black pipe as opposed to rail, know how to change the modes on various dollies, know how to assemble truss, know your knots (which ones and how to tie them, and which ones are used in which situations), know what lexan is and what it's used for, know the strongest load configuration/position for sling and spansets, know what and over-under is, and a million other things. If you are a gaffer OR a key grip, you should know where and where not to stand while shooting, and where and where not to stand while shooting if you are a set electric or set grip. If you are a gaffer OR a key grip, you should know who to talk to if you need more cello. If you are a gaffer OR a key grip, you should know what to bring with you on a tech scout, and also how much you should be paid for that tech scout. Really, the list goes on. Now, you CAN say "experienced PA" (it's also clear because you call yourself an "experienced PA/Gaffer/Grip" -- no experienced gaffer would consider himself/herself a PA -- of any sort). This is much different than a non-experienced PA. They make more money. They know what's needed on set, and who needs it. They know shortcuts (literal and figurative), they know who to help and who not to help. Again, we are not saying this to bring you down, but really, to help you understand that someone can be working in this industry for years before they are a "professional" and "experienced." And there is ALWAYS new stuff to learn. -DW

PA as much as you can. Work as much as you can, for free or not. Make friends with the grips as much as you can. Help out the grips as much as you can without getting in the way. Keep your ears and eyes open. Have patience. -DW

"Smooth" is relative. How smooth is needed, how smooth you can afford, that's a different story. To get the smoothest tracking shots (you have not stated what kind of shots need to be "smooth"), a hydraulic or electric dolly is required, something made most likely by Fisher, Chapman, or Panther if you are shooting here in the US. The rental of these will run you in the area of $200-$300 per day, not including track, which may or may not be necessary. This should be in the grip section, as it has to do with camera support.

Hmm... I would change "Film Production Credits" to read something like "Narrative Production Credits" since today the term "Film" is so ambiguous. It would help to cover everything in that section, since you have things that are both features and shorts as well as both digital and film (the media). And that distinguishes it from the commercials in the next section. Also might want to stick something about OSHA or something next to "Aerial Lift and Fall Protection" Certified" if that applies to you. That's what I did on my resume... I think it makes it sound more professional, or legit. (ie, certified by who?). "Picture Car Rigging. Funded by NM Film Office" is a little vague to me... but that just might be because I'm all the way in New York and have no idea what there is in NM. Is this a course? A class? A 5-hour session, or a 4 month training? Something that you took? Something that you taught? Is there certification for it? An exam? I might just be a little naive on this issue, but I've found it helps to be as specific as possible, especially in an industry which takes you all over the country/world, where people may not know what exactly the NM Film Office offers. Other than that, looks pretty good. I'd like to ask a general question: what do people think about putting the production companies on their resumes? Steven has done it, and it looks good, but I personally don't do it on mine, and was considering it. What do you include?

I recently got this one: "Hmmm, I don't know why you haven't received your check yet... you're in our system. Wait... can you hold for a minute? Wait... can I call you back...? I think you need to talk to Mr. XYZ in our ABC Department... I'm not sure, hold on just a sec, let me call you in a few..." And from a major network no less.

And YES, a lot of film equipment is grossly overpriced, as any technician who's been around the equipment long enough knows. An oconner frontbox is DEFINITELY not worth 300+ dollars, by measure of materials used, construction, design, or any other stretch of the imagination.

Well, not really. REAL car rigs are secured with ratchet straps, speed rail, and rail starters. ;) (honestly, I try to stay away from anything with suction cups)

Tip for heading up large units onto stands: Put the unit on the liftgate of your truck, wheel the stand next to the gate, and two people lift the light onto the stand. I would NOT use a supercrank stand (as pictured above) to send a T12 up 20 feet (as Simon mentioned, possibly) in anything but the most controlled locations (in a studio, for instance). Maybe you can get a away with 16 feet, I dunno. Just make sure that it's safe, whatever you do. You may also want to look into Avenger's new Long John Silver crank -- really nice piece of equipment. But if you're on a windy pier, for instance, use something else. -DW

Doh! Of course. Duh. I guess i wasn't thinking when I posted... just went ahead and listed all the variables. Thank you. Is 1.5mm the industry standard for arms? Or do you use this especially for added stability? Again, duh on my part. Sorry. :) This part I'm not so sure about. What do you mean by "regular"? Stainless comes in grades of T321, T316, T304 most commonly, and there are others as well (in addition to various fabrication processes). Here's a good reference on just the different grades: http://store.microgroup.com/materials_reference.cfm#1 Is there one that is more "regular" than all others? Salil, I am far from an expert on steel manufacturing and distribution, but generally standard retailers are not the best place to get what you're looking for. A stainless fabrication supplier would be best. Depending on where you are located, here might be a good place to start looking: http://www.zycon.com/Products/Stainless-Steel-Tubing.html

Speaking of, does anyone know the: -OD -ID -Wall -Steel alloy -Grade (Austenite/Ferrite) used in c-stand arms? just curious...

What ends up coming on a truck and what might ideally be used are hardly ever the same thing. For screwing a plate (baby or junior receiver) into a pancake, 1-inch #6 coarse thread drywall screws work best. 1 1/4" will also work, but the screw may stick out a little bit on the other side of the wood. Also keep in mind that, depending on the situation, you can use other size apple boxes as well, if only longer screws are available. As for screwing plates into other surfaces, it really depends on the surface. Different metals will work best in different materials, and it also depends on how secure (how much weight) you want the plate to carry (for instance, if it's hanging). It's best to have a variety of sheet metal, wood, drywall, masonry, etc. screws of varying length on hand, but drywall screws are by far what I end up using most and find completely adequate for most tasks. -DW

Dan- An 8-step ladder (or whatever will suffice), high hat, and a couple of c-clamps to clamp it to the top is all you need. -DW (For added rigidity you can add some 40" c-stand arms to the high hat base).

Generally 1.5"

seems nice, michael. Could you post any pics/closeups of the actual camera mount in the speed rail box truss? I'd also like to see a little higher in the first pic, where the speed rail leads to at the top. :)

The cello is used directly on the unit, touching it. It doesn't melt or burn (it may smoke a little bit for a minute if it's brand new). You can't use flags or bags right on an 18K HMI, cello you can.

Also called a scissor clip: Make sure to use a safety, either out of aircraft cable, trick line or similar.

Muslin, both bleached and unbleached, is also used for diffusing. (in fact, I'd say its used as a diffuser more often than a bounce, depending on the person you talk to).

Yeah, pictures would be great. Do you still have my email address?

Hi Sanjay :) Do you have any links/other pictures to the specific dolly and type of track used for this sequence?