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Daniel Wallens

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Everything posted by Daniel Wallens

  1. To Sanjay & michael: Oh my goodness! I am sorry!! Honestly, I really did know that, but somehow wasn't thinking at that moment. Many apologies to all regarding my geographical blunder :)
  2. Here is a pretty good video illustrating an Akela crane stepoff (talked about in earlier threads). The hanger apparatus they have rigged seems somewhat similar to what you might need should you want to suspend an operator.
  3. Yes, 90-degree plates and mounts are fine to use on pretty much anything, provided they can fit together properly (contact the rental house to make sure you get a kind that's compatible with your jib, such as ball to mitchell adapter, etc.). The L-cheese plates can pretty much be put on anything, and usually have holes that take 3/8" bolts. These are by far easier, more common, faster setup, and cheaper than multi-axis heads. You do not necessarily need an operator for a jib that small. I'm not sure which "triangle jib" you have (triangle can refer to any jib using a 3-point truss design), but small jibs are generally easy to put together. For larger jibs, that require more assembly, more weight, remote operated, etc., etc., yes, it is best to hire a trained operator. But on a student film, just make sure you read up on how to assemble it, balance it (important), secure and safety it, and then operate it. Feel free to go to your rental house and ask for a demonstration -- most places are happy to show you how their gear works. Two examples of jibs that don't always require an operator, but does require attention and care paid to how it's assembled and used: An example of a jib that requires an operator, or experienced grip/dolly grip: Depending on which one yours looks more like, you may or may not want to hire an operator. -DW
  4. Get any 90-degree plate. These are quite common, and cheap. They also come standard with most Fisher and Chapman packages. Don't suspend anyone when shooting a student film. (Unless you have the properly trained and appropriate technicians on set). Using just a jib move may have a very slight arc, which may or may not be visible, depending on the size of the move and the lens used, and how accurate you want the center of frame to stay. To make the move perfectly perpendicular to the floor, put the jib on dolly, and dolly as you jib. Examples of 90-degree plates/mounts:
  5. It seems to me that there are two ways to go about doing this, both being the right way. The first is, as you say, use a construction crane. Has this been done? Yes, I believe it has (although I don?t have any references for you). There are possibly a few things to keep in mind. A Flight head, or any gyrostabilized head, like a Libra, Scorpio, etc. are generally only best for low frequency vibrations, and that?s why they are often seen on camera cranes, even when the base is stationary. When larger movements are involved, such as on a moving vehicle (a car, ATV, etc.) some other kind of vibration isolation is used, such as something from Chapman. These help to get rid of the larger bumps that the servo in the Flight head, etc., can?t hide. Now, if the construction crane is not very smooth (I don?t know), you will see these movements regardless of the stabilized head. It depends on how you want the shot to look. You may not mind it. You must also take into account the sway? winds are much stronger 100 feet up in the air, and keeping the camera in the same place while on the end of a ?string? may be difficult ? or, impossible. Again, it depends on what you want the shot to look like. You may not mind a slight sway. If you do it this way, it might be good to find a crane company that is familiar with production. Dwight Crane in Toronto is one place that specializes in crane lighting and platforms. I?m not sure what?s available in India. The second way is: why not just use a Strata? It reaches 100 feet easy, and it will probably be much more manageable on the day. And, for the shot you?re talking about, 100 feet is high. Here?s a picture of an XTreme, and it?s only 82 feet high (lens height, underslung): You will definitely be above the houses with a 100-foot Strata (unless we?re talking larger, 10+ story buildings), and depending on the lens you use, you will see a LOT. A Flight head (or similar) on a Strata crane would ensure a smooth, vibration-less rise, and will also ensure that you can stay dead center on the lotto ticket for the entire move (provided you have a good crane op). And I?m also assuming that it takes less time/manpower to move the base of a Strata than a construction crane, if needed. -DW
  6. You can try Mandy.com or craigslist. Both places always have tons of listings begging for free labor (not that I'm for this). Here is a good resource too, but those two websites have a high frequency of new listings. -DW
  7. Don't suspend ANYONE without an experienced and knowledgeable key grip and/or stunt coordinator. (yes, they can still get hurt without being dropped). -DW
  8. Doug, Not sure if you already have a deal going with MEG, but you may want to look into Independent Aerial. They will train you without being in a large group. I believe it costs somewhere in the area of $175 for an individual. Matt, What exactly do you need help with? I am trained and OSHA certified on various boom lifts. (Feel free to PM me/email me as well). I am in NYC. -DW
  9. You are most likely talking about the ones made by Modern Studio: http://www.modernstudio.com/mountingequip3.html (see "PIPE BOOM KIT COMPLETE" at the bottom)
  10. Hey all, Thanks for the great responses. I never was good at math. :) I now feel I have a better understanding of how things work. However, I'm still really wondering about my original question. I need to fit 180 degrees into a room that's about 10' wide. Really, custom track isn't an option -- I have to go with something from Fisher, chapman, matthews, etc. or anything that's readily available in NYC. It seems like my only real choice is the 90-degree square tube track. Or would even this not work either (since we don't know where they are measuring from?). But i HATE using square, and I'd MUCH rather have aluminum tubular precision track. Can I? Does anyone have all the measurements for these various, readily available tracks? Thanks again!
  11. Now i'm confused. according to this, 90-degree track makes a 10' semicircle: http://comtel.ua/light_acess/matthews/PDF/...s&Track.pdf (last page, Matthews 90-degree steel track) but according to this, 90-degree track makes a 14' semicircle: http://www.chapman-leonard.com/products/tr...ar-Aluminum.htm (Chapman aluminum precision). Same thing for their steel version of the same track. I don't get it. both are 24.5" and 90 degrees. Why does one come out 4 feet wider than the other?
  12. sorry, forgot to mention that I'm looking for outside diameters -- think, whats the smallest room it will fit in.
  13. Hey all, I am desperately trying to find the exact dimensions (well, the diameters) for 180 degrees of various Precision (aluminum) curved track. On Fisher's site, it really only lists the 45-degree curved (which is 20'). And that's steel track (although they should be the same). The rest of the diameters listed are for their square tube track. Does anyone have the diameters for all various degrees of Precision (aluminum) curved round-tube track? (looking at standard 24.5" track for Fisher dollies). Thanks :)
  14. [oops, sorry for the double post... what? we only have like 60 seconds to edit now? here's the updated one:] Usually on set, speedrail and other pipe must be cut with your circular saw, as there is rarely a bandsaw readily available right there and ready to use. This is especially true on non-studio jobs. As a result, certain blades made for circ saws are better for certain things. Generally, any toothed metal blade that is specifically made for non-ferrous metals will cut aluminum. Sometimes they will say "aluminum" on the blade, or sometimes they will say something like "only use for non-ferrous metals," meaning things like aluminum, tin, copper, brass, etc. They usually have a high tooth count (upwards of 36 teeth), and generally aren't too expensive. Here is an example: http://www.internationaltool.com/freudlu89mblades.htm Obviously, price depends on the size of the blade and the manufacturer as well (Lenox makes some of the best and most expensive blades). Also, you could get a ferrous metal cutting blade. These blades are much more durable, much more expensive, and generally have more teeth. They are used for cutting ferrous metals such as steel and iron. If you have one of these, it will cut the speedrail fine as well. Your third choice is to get a metal cut-off blade. These are non-toothed wheels, which are generally a lot cheaper and usually a lot more common to find in your local store. The tradeoff is that these generally don't last as long and don't provide a very smooth/accurate cut. Here is an example: http://power-tools.hardwarestore.com/54-36...lade-metal.aspx But, like others have said, to get the prettiest cut on a piece of aluminum (on set), get a non-ferrous, high tooth count blade. But really, in practical terms, when rigging something on a film set, the smoothness of the end of your speedrail is the least of your concerns. Also keep in mind that just because something says "for ferrous metals" or something on it, doesn't mean it can cut ANYthing. I have several ferrous metal blades that fit my 6.5" cordless circ saw, but that doesn't mean I can cut a 10x10 block of iron. The material and construction of the blade is just one part of the equation; to cut a big slab or block of very hard metal requires a larger circumference, higher RPMs on your saw, and higher torque.... and sometimes water to cool the parts.
  15. Usually on set, speedrail and other pipe must be cut with your circular saw, as there is rarely a bandsaw readily available right there and ready to use. This is especially true on non-studio jobs. As a result, certain blades made for circ saws are better for certain things. Generally, any toothed metal blade that is specifically made for non-ferrous metals will cut aluminum. Sometimes they will say "aluminum" on the blade, or sometimes they will say something like "only use for non-ferrous metals," meaning things like aluminum, tin, copper, brass, etc. They usually have a high tooth count (upwards of 36 teeth), and generally aren't too expensive. Here is an example: http://www.internationaltool.com/freudlu89mblades.htm Obviously, price depends on the size of the blade and the manufacturer as well (Lenox makes some of the best and most expensive blades). Also, you could get a ferrous metal cutting blade. These blades are much more durable, much more expensive, and generally have more teeth. They are used for cutting ferrous metals such as steel and iron. If you have one of these, it will cut the speedrail fine as well. But, like others have said, to get the prettiest cut on a piece of aluminum, get a non-ferrous, high tooth count blade. But really, in practical terms, when rigging something on a film set, the smoothness of the end of your speedrail is the least of your concerns. Also keep in mind that just because something says "for ferrous metals" or something on it, doesn't mean it can cut ANYthing. I have several ferrous metal blades that fit my 6.5" cordless circ saw, but that doesn't mean I can cut a 10x10 block of iron. The material and construction of the blade is just one part of the equation; to cut a big slab or block of very hard metal requires a larger circumference, higher RPMs on your saw, and higher torque.... and sometimes water to cool the parts.
  16. thanks very much guys for your replies :) will adhere to them. Also, I think I'm not going to have a problem mounting the whole thing, but perhaps you guys have some other ideas on how to adhere the bazooka onto a piece of plywood (fitted to the back seat section of the car).
  17. Hey all, I am going to be rigging some interior car shots (from the backseat of a SUV out the front windshield) and would like to give the operator and DP as much flexibility as possible. I was wondering if anyone had any tips on putting a bazooka (a telescopic one) on a slider. Is there a particular model of bazooka I should use? A specific make of slider? Or is this a fairly easy connection/setup?
  18. Ah yes, I don't know why I didn't think of steel pipe (my mind was in speed rail land, apparently...). Jon's suggestion of using that was probably the best here.
  19. The short answer is, you should be fine. However, keep reading for caveats. Even though we typically refer to speed rail as aluminum pipe (which it is), real speed rail (typically) is made out of a magnesium-aluminum alloy, grade 535, schedule 40 pipe. In real life, things can always be a little different. First off, you didn't say which kind of speed rail. Standard is 1.25", but it also comes 1.5" a lot of the time (and is manufactured in different sizes when used outside the film world). If possible, 1.5" might be preferable if you can get it. According to Hollaender, their 1.25" pipe is rated at 937 lbs. You also must consider the condition the gear is in. Get a good coupler with 4 tie downs. Make sure the pipe you get doesn't have any huge gouges in it. That can compromise its stability. But considering that the ellipsoidals you'll be using weigh roughly about 10lbs each, and the Arris' weight is pretty negligible (about 7lbs per unit), you should be fine. Honestly, it is up to your key grip, and I don't want to step on his/her toes. If he/she is experienced and knowledgeable, they will make the right decision, looking at the situation first hand and considering all the variables. If you are nervous, however, consider using an over-under or a trussmaker. Either of these options will provide considerable added stability to your rig. If neither of these, you can put a safety from the pipe to a fixed object above, so some of the weight is taken off (this, however, is the less desirable method). :) -DW
  20. Things can be rigged from above. Things can be placed outside of windows. Things can be hidden behind set pieces and props. Things can be lit with practicals (...to a point). Depending on what lens you are using/focal length, this is not really all that difficult. Really, it all depends on the space, and what instruments you will using. A little more information about the space/setting and gear would help readers of your post make their answers more specific.
  21. The earth moves at a constant speed around the sun, that's why we can determine its position (and hence the thumb trick). With clouds, however, it is different. Wind speeds are different and changing depending on where you are, the day, the time of year, season, etc. Also, keep in mind that wind speeds are much different on the ground from where they are at the altitude that the cloud is at. On top of this, different clouds exist at very different altitudes. On top of this, clouds change size and shape as they move through the sky. A small cloud in the east may dissipate when it travels more west (could be a distance of a few thousand miles, at least). So unfortunately, there really isn't a set "trick" to use in all situations for measuring when a cloud will be at a particular location, how dense it will be, or what size/shape it will be. The best thing you can do is keep tabs on the sky. Speeds of clouds generally don't vary minute to minute. If you see clouds moving fast, you can judge for later. Watch clouds during your downtime, and then you will be able to give better estimates to your DP when it's time to shoot. Have your best boy or production stay on their computers, and let you know what the windspeeds are like for your area (and weather in general, is a good idea). Over time, you'll get better at knowing what "40 knots" or "5 mph" looks like. Mostly, though, I find just looking up helps more than anything. :)
  22. Hi there, I would be quite interested in the key grip position. Are you only looking for locals, or would you fly people internationally? Cheers, Daniel
  23. The columns... how did you light them up? And just with stuff from the 1ton? :)
  24. A sandwich is a set of 4 flags: a silk, a double net, a single net, and a solid (or really, 2 solids, so that the three other flags can be carried in between the two solids easily... and hence the term "sandwich"). A floppy is a 4x4 solid flag, with a 4x4 flop of duvetyne sewn to it, so that it can be "flopped" out to make a 4x8 flag. What you are doing with your 1.2 is not really rigging. Do not tie the stand to anything. A 1.2K HMI is not really a big light, and there shouldn't be a lot of wind if it's hugged up against the side of a building. Regardless, do not tie it. Make sure the stand it properly bagged, avoid using the top/first riser if possible, and make sure all the knuckles are tightened down securely. Mombos have a maximum height of about 23 to 27 feet (depending on manufacturer and line). If you really need to go this high or higher, get the light up there another way. It's much better to do it the right way than the harmful way.
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