Daniel Wallens

I work with a gaffer every now and then who owns his own dimming system, complete with remote-controlled dimming board. He's a pretty good gaffer, and I'd think that having this asset does make him a bit more marketable in terms of getting jobs. The upfront cost of obtaining a dimming system can be pretty expensive (and can get VERY expensive), but after the initial cost, you can pay it off quickly, provided you can do your own maintenance and know how to service the equipment yourself to some extent (which you should be able to do, considering you own and operate the equipment). This, of course, is not considering lighting units themselves -- just the dimmer packs and board, cabling, etc. A dimmer board can be very basic, such as a simple ETC 16-channel, 2-scene board with really no memory. These are cheaper, costing only a few hundred dollars. Other boards are entire computers, allowing complex commands to be sent to hundreds of lights simultaneously, in succession, or at timed intervals. Still others allow control over intelligent lighting unit, and each individual movement or change each unit makes. These can cost many thousands of dollars. Dimmer packs come in, similarly, less expensive and more expensive configurations. Think of a dimmer pack like a variac, just many of them in sequence, remotely controlled, connected to many lights. I'd say that dimmer packs/racks are slightly more expensive than the consoles, when looking at comparable units/product lines. DMX (technically DMX512A) is simply a communications protocol. It is the method of how boards, dimming systems, and intelligent lights (not fixed units, for the most part), talk to each other. Similar to RS-232 on computers for transferring data between devices, DMX is a standard. It is used on most lighting systems today. Intelligent lighting is another ballgame entirely. They are, like the more advanced consoles, computers unto themselves, usually having their own firmware. The most widely used and highest-end manufacturers are Vari-Light, HighEnd Systems and Martin. Other companies also make such units, but for the most professional settings and most versatile products, these three seem to be the most preferred. As for their practicality on a film set, it can be a mixed bag. Dimming systems are great for stage and theater because they are good as permanent (or at least semi-permanent) installations. They can take a while to set up, and there's several more steps involved than just running an HMI to a ballast and then to a power source, and a specific knowledge and craft is needed. On sets where things are fast-paced, on the go, "run and gun" etc., I've seen that setting up even a small dimming system is not really the best way to go. Usually, only 1 or 2 people on set know what to do, and programming the board, running the extra cable, and working out whatever kinks there are simply takes up too much time. For sets where the production will be filming for multiple days, where they might have a prerig and derig crew, where there is a lot of fine-tweaking of units that are far away (high up in rafters) to be done, a dimming system might prove beneficial. -DW

Well, I?m not so sure that what that key grip did was the most professional thing in the world to do, unless he was specifically dismissed (ie, told that at least his department/unit was wrapped), but, honestly, judgment is what comes into play here, and assuming he was responsible and experienced, he knew the situation at hand and how to respond to it. As for your situation, it really depends, as Gus alluded to. In the ?real world,? if you arrive on set, and the production is, for whatever reason, not ready to shoot, you get paid. Production companies have production insurance for a reason. A little story: I was once on set, as was everyone else, and it was about an hour past call time, all ready to work. We had blocked, lit, and everything was in place. When the actress came out of H&MU, she announced that she was too sick to go on (she had already been suffering through 2 hours of H&MU with a bad flu). The producer had to call wrap. Did everyone still get their day rate? Damn straight we did. We were booked on a job for that day, we all showed up to do it, and we were all ready. Now, certain contracts have ?force majeure? clauses in them, which allow for things like bad weather or other factors that are completely out of the hands of the production. But an actor?s health or an incomplete set are well within the controls of the production personnel. So, technically, if you show up on Sunday, and the director says you can?t shoot because the set?s not ready, and calls wrap, you should, in the ?real world,? get paid. You were booked, you showed up. Then, it?s up to you how long you stick around. Now, it doesn?t really sound like the shoot you are on is one of these shoots. If there is a contract, take a close look at what it says. If there isn?t, consider, most importantly, who you?re working with. A lot (most?) of this business is what your working relationships with others are like, and what you do for people. Looking at it in this way, only you can make the decision of what?s the best route to take. -DW

Yes, a grip clip is the same as a spring clamps. Probably those are the most common names. Also, other names are: spring clips, pony clamps, handy clamp, hand clip, hargrave. Many times, on set, the key will just call for this by it's size: "fetch me a #1" and the grip should know what to get. The numbers denote (usually, depending on the manufacturer) what the approximate maximum expansion of the mouth is in inches. -DW

The reasoning behind the original manufacturing is unknown, as not all companies include it on all their flags. However, it has proved useful in many occasions: 1- Provides strength and stability to the flag, especially in the rotational sense (you can grip the entire thing, not just the pin, in the grip head in windy situations). 2- When clipping two flags together (say, a single and a double to make a triple) using grip clips, this appendage often serves better than clipping just the outer frame. 3- Picking the flag up, and carrying it. When carrying a bunch of flags say, 5 or more at a time) it is much easier to have a bit of a handle there, instead of just grabbing the pin in your fist. 4- Safetying, yes. When a flag is rigged to perms/greenbeds, or anything overhead, safetying everything is a good idea, even though it's not always done in practice. I'd say those are the most common, but on a case-by-case basis, someone on set is always coming up with a new use for it. -DW

Not exactly. This is a pretty common technique, similar in principle to the Sprite method I talked about in the Gripping section (see my post in that forum). You should just apply the water solution to one side of the gel, or the window itself, whichever is easier for you (most find squeegee-ing it onto the window first is easier, I've noticed). After one surface has a good coating, you can stick the gel up there, and then squeegee out the bubbles, etc. An important note: make sure your gel is cut exactly to size -- if it overlaps onto the frame, the surface won't be flush, and ripples/bubbles will much harder to get out, and may even appear hours.

Heh, you can do whatever you want -- it's all just suggestions here. But I think you've made the right choice ;) Do you mean the tie lines from the rag to the frame? Yeah, pretty much anything will do it. Shoelaces might be fine, but trickline will be better. You can cut off whatever length you want. It's stronger and more durable. It's plastic-coated so that it sticks to itself and doesn't slip. Plus, it might even be cheaper -- you can get a hanks (45 feet) for like 4 or 5 bucks, and a spool (750 feet) for under $30. By the time you end up buying a whole bunch of shoelaces, I think you will have spent more at the shoe store. :)

Gus, It is relatively easy to set up. I have no idea of the experience level of your grips/key, but if they have any experience with jibs, it shouldn't be much of a problem. It is pretty basic. Parts are color-coded. The unit comes with pretty straight-forward instructions (at least, the one from Eastern Effects does; the CSC one should too). To speed things up on set, and to make sure no one is waiting around for the grip department (a big blunder in my book), have them build it during the checkout (which is a good idea to do with ANYTHING, regardless, to make sure all pieces are there, and nothing is damaged, etc.). This way, the rental staff can help with any questions, and things will flow more smoothly on the day. This, really, is generally up to the key... but I don't know what your role is in this production. Hmm... this raises some flags... not sure what you mean by this, but I sure hope you don't plan on trying putting a person up there, or a nine-light or something. The Fisher 23 Jib is not a riding crane. PS- I hope some of the money from this "well-budgeted student film" ends up going towards the crews day rates ;) Cheers, -DW

Can't speak for Jon, but others here have, including myself. -DW

Don't worry about it slipping -- it wont. Tie tight bows with trickline, and you'll be fine. This is how all "professional" frames are constructed. You can kinda see (but not that well) here in this photo: http://www.cinemagadgets.com/images/B024-1.gif Keep in mind that speed and effeciancy is also an important factor on a big, professional set. Doing your job (the grip, in this case) quickly and precisely puts a professional apart from a beginner. And if you think about it, threading a piece of trickline through a hole can be a lot more time consuming than quickly wrapping it around a pole -- maybe not once, but try doing it 10 times x 4 sides -- 40 times, on a 20-by frame. This could mean the difference between 5 minutes and 15 minutes. As for the number of grommets, on professionally-manufactured rags, they are generally spaced about 2 feet apart, I believe, starting at the corners. So one in each corner, and then every other foot. -DW (just thought of another reason not to make holes: because wherever you end up putting the holes, you MUST line up your grommets at that exact place -- for that one AND every other rag you make. Just tieing AROUND the frame allows more flexibility. Remember, film companies have been doing it this way for 100 years -- I think they know what they are doing ;) )

Jamie, PVC will work fine. Arguably even better (and most often used for large diffusion frames) is 2x4 or batten wood. Batten will be lighter, 2x4 will be stronger. Both are definately cheaper than PVC, but might not be as durable if you plan on keeping the frame for a long time. Also, wood is arguably easier to cut down to size if you need a smaller frame on the spur of the moment. I don't know how modular you need this to be. For a more perminant solution, you can staple the muslin to the wood frame, and this allows for a tight stretch that won't sag. It also keeps things neat and pretty. Regardless of which route you take (PVC or wood), you do not nessasarily need to put holes in it. After you've made your grommets, take some trick line and put ties in each grommet. You can then tie these around your frame, just as in a standard metal frame made by Matthews or Modern. If you have any more questions about muslin, feel free to ask :) -DW

(sigh) Serge, Yes, a light can be balanced using gel. However, nowhere in the original post did we talk about gels or lights. This post has always been about diffusion. So, "Muslin can be bleached to match daylight or tungsten" is untrue, since muslin is a diffusion, and you don't color-correct diffusion. You color-correct light. 1/2 CTO takes 5500 to 3800. 1/8 CTO takes 5500 to 4900. Full CTB takes 3200 to 5700. Double takes 2800 to 10K. ie, you don't color correct the muslin fabric, and not to "match daylight" etc. Hell, you can put straw, CTB, CTO, cosmetic peach, or whatever in front of the light -- the color will still change, regardless of whether muslin is in front of the light as well or not. Jamie never mentioned anything about lights. Now, what you may have meant was that the muslin changes the color temperature. Yes, this does happen, since it has a color. Muslin is not, however, manufactured to be balanced to 5600K or 3200K. Jamie, Are you wanting a specific size for use on a frame? If so, Filmtools.com is good. Are you wanting raw material? If so, Theragplace.com is good (Hollywood). Mutual Hardware also has a good variety (NYC).

I've never seen or heard of muslin (bleached or not) being "balanced" to anything. I don't even know how they'd accomplish this, since color temp balancing is measured via the "burning" (or heating) of a metal or gas (until it glows). Mr. David Mullen, do you know anything about this? Muslin (bleached or not) is used generally as a diffuser, and sometimes as a bounce. Usually, other types of bounces tend to be preferred. Muslins take off about 3 stops, if my memory serves me correctly (someone feel free to correct me if I'm off). Bleached is whiter, and has only a very slight warming effect. It's often described as similar to a white bedsheet. The reason why you probably see more requests for unbleached rather than bleached is because unbleached has a particularly unique effect on the light. It provides a very rich, yellow-gold, warming glow, while at the same time allows for a very soft and wrapping diffusion. Really, there is no other type of material that does this all by itself. Bleached, on the other hand, has the same diffusing effect, but doesn't provide the same in terms of color. Other types of diffusion are closer to bleached muslin in this respect. Different, yes, but still not as unique as unbleached muslin. As for how silk compares to muslin, you can ask this from a variety of different viewpoints. In terms of lightloss, it depends on what KIND of silk you are referring to. Full silk reduces intensity by about 2 2/3 stops. China silk cuts only 1/4 stop. Regardless, though, two things generally hold true: Silks generally do not provide any color change; muslin, arguably even a bleached muslin, has a slight warming effect (and unbleached, of course, has a very noticeable warming effect). Also, silks, while being effective diffusers, allow for a harder, more defined shadow, while the muslin tends to be extremely soft and "wrapping." Silks tend to have a more "linear" throw (you can see this if you look into the silk with a light behind it -- lines in one direction are visible) whereas with the muslin, the light is extremely even, from the center outwards in all directions (this difference is due to how the two materials are woven). As for what you should get, that is up to you, and what you want to do with it. -DW

A pizza box is a 2x2 piece of bead board (cut from a 4x8 sheet). It is used to bounce light, often used as an eyelight or to add a little kick to something. If they wanted a frame and a silk, sounds like they were using the term incorrectly (or, it's a geographical thing -- an excuse used a LOT). Otherwise, they were using the term VERY loosely, where they wanted to use a small silk to bounce some bright light...?

Wall spreaders are made by a variety of companies, Norms, Modern, etc. They are all good. What is always best in terms of placement on the wall is to find a stud. Using your studfinder, find a place in the wall where there is already something secure there. If you need to place the spreader in a place where there is no stud, you can put a piece of cribbing, a pancake, etc. to distribute the outward pressure. However, after you have put up a few hundred wall spreaders (not even), experience will tell you that this is not always really necessary. You must judge what you are hanging, and go from there. Each situation is different. In your situation, you are hanging a pretty small light, weighing about 3 pounds. Unless you are putting 10 of these on the spreader, I wouldn't worry much about pressure distribution. However, you must also judge your location. Walls of poured concrete (like in a studio, warehouse, etc.) are incredibly solid. So are brick walls. However, a temporary office space my have very thin drywall. These are "easier" to punch through (although I wouldn't say easy unless you really crank down on the spreader, which, for hanging a 200w pepper, you don't have to do). Remember, good gripping is about judgment, thought, experience and foresight -- not always about brute strength. In fact, I'd say that if you are trying to muscle through everything in the grip world, you are not only doing it the wrong way, but you're going to tire yourself out very quickly. Once the spreader is up, I like to give it a little tug to see if it's good. A good firm tug applies a lot more downward force than the light you are hanging, and so you shouldn't be cranking the spreader. If there's a danger of it slipping, put some rubber matting in between the wall and the rig. As for what to use on the 2x4 to hang the light, this can be anything that works. Cardellinis are fine, a maffer can even work, furni clamp, no-nail/set wall hanger, etc. You don't need to use a custom thing, but hey, if it's in the truck, why not... You can also screw a pigeon into the 2x4 as long as it's a small light. Don't drill any holes through the 2x4, or use too many screws if it's a bigger light -- doing so can compromise the integrity of the wood. Orienting the spreader in the vertical position (4" vertically) is stronger than orienting it horizontally, however, you lose some height on the unit. If the light has to be as high as possible, the wood needs to be horizontal (4" face facing up/down). -DW

See my response in the Gripping section (as this is really a grip department duty): http://www.cinematography.com/forum2004/in...showtopic=32209

Pollcats generally are not desirable, but often just acceptable. For what you are doing, a wall spreader would work best. If you are allowed to drill into the walls, pigeon plates work best if the light doesn't need to be centered in the room (ie, close to the walls). If you need mobility, and the room can accommodate it space-wise, build a menace arm. -DW

Hey Christopher, If you are needing someone to hold the boom, then a grip ain't what you're looking for ;) Good luck! :)

Kurt, there are several good ways to gel windows, but whichever way you choose, if they are large panes, it will still be at least a bit of a pain in the ass. By far, gelling windows is my least favorite of the grip duties. If you can, gel from the outside of the building. This will allow you to use tape or staples,* depending on the surface. The edges then don't have to be neat, and you can easily pull it as taught as possible to minimize ripples. However, you cannot always gel from the outside -- it may be very windy, or you may be shooting in a skyscraper (for instance). In such cases, you must gel from the inside. Two methods seem to be preferred among others, I've found: one is the squeegee, where you take some water,** apply it to one side of the gel, and smooth it out on the pane as much as you can (make sure the window itself is free of specks, cobwebs, etc.). A squeegee is a common thing found on most grip trucks. However, if none is available, the doublestick (snot/ATG) tape works as well. Make sure you rip off nice pieces, and don't gunk them up with dirty hands. Regardless of which method you use, make sure your cuts are neat, and fit to size. Check with the key or gaffer, DP, camera op, AD, whoever, to see how clearly/in focus the window will be, or if it will be in the shot at all. If you are running low on time, and the window is very out of focus and tiny in the background, making a very careful, neat, time-consuming job of it might not be the best way to budget your work. Honestly, I don't see why the format of what you're shooting should matter. A good gel job is a good gel job, a bad one is a bad one. Whether the camera sees it not is not up the the grip, and not something the grip should concern his/herself with. A good grip will do a good job, the right way, regardless. -DW *Good tip for stapling ND: if time allows, put squares of tape (paper or gaff) near the edges of the ND where you will be stapling. Then send the staple through the bit of tape and the gel. This will ensure that the gel doesn't rip, especially when pulling the staples out, so that the gel can be reused. **If the water alone isn't doing the trick of making the gel stick to the window, a good trick is flat Spite. Mix a can of it in with the water, and it will create a stickyness to it when it partially dries. Make sure it's flat, though. Don't use Coke.

Well, I'd say, whatever gets the job done. Ideally, in the center, as (1) that would distribute the weight more evenly, as a doorway dolly is pretty light, and (2) leaves the most room to operate around. That being said, I've seen cameras on all edges of the platform, if that's what is needed to get the shot.

Is this a gig, or more of a long-term job?

Wow, good price on the wheels, considering they list for $1325.00 and up (http://www.modernstudio.com/dollysaccessories.html). Do you have a connection, or a special discount or something? Or are they just being sold more cheaply locally? Regardless, kudos on the good find :)

Um, nope. Skate wheels generally cost in the area of about $1300 - $1500 (new). Only makes sense that you'd want/need something solid to transport these precision items in. Also, they are quite heavy together, get banged around a lot, and thus they need a heavy-duty case. As for having one made, sure you can, for less than that. Will it be as good? Hard to say. You are paying for something extremely well built and rugged. Inset casters and solid wheels are difficult to do. Metal bracing around all corners is expensive. And they didn't just glue a piece of plywood in the center, I'm sure. To make one as exact, well thought out, and tough as that case, ... you might not actually be spending much less. That being said, Losmandy makes a case for their porta-glides sleds, which I believe is much cheaper. It isn't quite as solidly-built, and I don't think it has wheels (very important on such and item! You will definitely want them), and I'm not sure if it can be used with other skateboard wheels (dimension-wise), but you might want to call them up and ask them. Good luck :)

Really? No suggestions at all? :(

Here you go: http://www.filmtools.com/cecacat39.html :)

Hi everyone, Thank you for your replies. The shoot went well. After much going back and forth about the bike shot, the director finally decided on what he needed. I would have liked to put the camera on a stabilized head mounted on a separate vehicle, but the director wanted a more in-your-face kind of feel, where the frame would have the rough, bouncing, jittery movements of bike, and a more connected, immediate feel. So in the end, I rigged the camera directly to the frame of the bike. The shot had to be low, looking up at the talent (but also seeing some background, not just sky), and so using the big o'conner head that we had was out of the question. Good thing I special ordered some cheese plates ;)