Daniel Wallens

(no offense, but...) Why does this have the sound of a craigslist ad...?

Well, I'm about to go to the tech scout... and yes, I was thinking the exact same thing about the handlebars vs the frame. I got a quick email from the DP about rigging to the handlebars, but I don't think he was thinking about it too exactly, so I was going to attach it to the frame anyway, since I think that will yield better results. But if you have any pics, feel free to post them -- they will be much appreciated! :)

No real "stunts" ...just riding down the block.

Hello, Does anyone have any good ideas for mounting a camera (16mm or 35mm Arri) to the handlebars of a regular BMX bicycle? The camera has to be shooting back at the rider's face, without too much sky in the background (that is, should be shooting more level with their head). I have a few ideas myself (including telling the producers they shouldn't be doing this) on how to accomplish this, but I wanted to get any ideas anyone else had -- maybe someone knows of something specialized or in particular that would be good for this. I see plenty of DIY rigs on google, but those are mostly for still cameras and smaller DVX-type cameras. Thanks, :)

Hi :) I have been thinking about getting a small onboard mountable monitor, like a 7" (or thereabouts). This will not be used as a production monitor -- it will mostly be used for framing, so the image quality doesn't have to be top of the line (ie, I don't need a $6000 Astro Systems box). However, more importantly, I would like it to be versatile: various input options, resolutions, formats, etc. I would like it to: Operate both NTSC and PAL. Both HD (1080p, 1080i, 720p) and SD native. SDI/HD-SDI, S-Video, composite, BNC inputs, and a VGA (15-Pin) or DVI input would be great too. At least 1 output (any). Overscan/underscan function. 16x9/4x3 switchable. Brightness/contrast/etc. controls. Other niceties would be onscreen histogram and the like, but not a necessity. Doesn't need to be wireless -- yet, but I would like to have this possibility in the future. I understand if it may just be easier to get it right away. I have not really come up with a price I'd like to spend, but from my searching, it seems to come down a lot to manufacturer. I know of certain brands, like Marshall, but I'm unfamiliar with others, such as Tote Vision, Nebtek, Ikan, Datavideo, and others. I'm looking for something decent (not trash), somewhat affordable, and compatible. I'm perfectly fine with saving money and going with a better model that's been used (as long as it works fine, of course). Does anyone have experience with some other brands and how they stack up? Thanks :)

Interesting, Paul. Thanks for the info. Does Airstar require you to hire their techs? Or can the grips on set be responsible for the Cloud? Also, what's in it? Helium?

Hey all, Thanks very much for the replies. Fran- great suggestions. The super vibration isolator by Chapman might be just the thing, had not even realized it. Of course, I STILL (grrr...) have not been told what the shots are to look like. Very frustrating. As for the flight head (can't use the Mini, we will be using some kind of Arri cam) does this have any advantages over the Libra? I suppose it may just come down to what is most available here in NYC next week. But if I can give some compelling reason to go with one over the other, I will convince production to do what's necessary. Otherwise, the rig in your pics looks great. It unfortunately leaves the actors having to ride their bikes for real, and thus no real/exact lighting, but I suppose the only way to do that is with a process trailer. Onno- Thanks for the info re amount of stabilization. Unfortunately, as mentioned, I still don't know what the look wants to be. I'd like to have a gyrostabilized head on set just in case. Do you know of a good one that is available in NYC? Libra III vs. Flight Head? Anything else?

Hi everyone, I was hoping to get some good opinions on a gyrostabilized head. I am going to be keying a music video where we will be leading (in front of) two bicycle riders down the often pothole-filled streets of New York. Honestly, the details of the shots have not been worked out between the director and the DP as of right now (should be done by tomorrow) so I don't know how tight or how much control is needed, but I wanted to give them the smoothest option available. I was thinking of something like Libra head on a camera car, followed by the two talent on bikes. Is there something better, more versatile, or smoother than the Libra? There was the idea of a steadicam op just operating (standing) on the lead camera car, but i think the DP wants a little more control himself (he's not a steady op). Ideally, the shot would use a smallish crane, perhaps a super Techno15, on the back of a process trailer, with a stabilized head, for the shots where they are riding, and then use the head on sticks/dolly for the closeups, and the talent would just be on the flatbed. I don't think the crane will happen because of the budget, so perhaps some others have some ideas on how to get a nice, steady shot with a fair amount of range. Thanks :)

Hi all, My understanding is that, when making a car mount (and not using something by Matthews or Modern, etc.), particularly a hood mount, just out of speed rail, the best thing to do is to place your starter directly to the frame of the car, where it is most secure and doesn't damage the chassis. Am I off on this? Also, what kind of gear do you to use to bite the frame? A speed rail starter or something else...?

Great post, Walter :)

http://www.filmtools.com/equipmentcarts.html#top

If it is standard Matthews steel track (24.5") then it will be fine. Make sure you get the u-channel wheels that (should) come with the dolly package.

While this is not what I'd say the norm, I have in fact seen trailers used to haul G&E gear. They generally tend not to exist in the "big leagues" (ie, larger rental houses or production companies; for instance, Paramount Production Services, Walton, Panavision, Feature Systems, Haddad's, etc. all use box trucks/semi's). I have, however, seen individuals and owner/operators use these kinds of follow trailers. Why this is, I can't say for sure. However, I can venture a guess or two. Perhaps these smaller trailers, which usually only rest on two wheels (or sets of wheels) just can't take the weight of the larger payloads that typical G&E trucks carry. Also, with no liftgate (and only a ramp) getting large, heavy carts on and off takes considerably more effort (and thus sometimes more manpower). Other little things, like the absence of jockey boxes, makes it less of a real grip truck, and more of an "all-purpose" truck. I also suppose that larger vehicles that belong to rental companies or productions don't nessasarily need the flexibility of multi-usage -- they were built to be G&E trucks, and that's only what they're used for. I suppose it really depends on the setup, what you are carrying, and who you are. You can put gear in the back of a station wagon if you want. Really depends on how well-thought out and luxurious you want your ride to be.

Another vote for a wall spreader, either 2x4 lumber or speed rail (round) type. Make sure you find a stud in the wall, is always best. I've always tried to stay away from pollcats/Mathpoles when possible -- they are generally less secure than a spreader, especially with long horizontal spans (and that room looks like a good 20' across -- not even sure if they make a pollcat that long -- robert? You might have to put in extension tubes from autopole; again, making things longer and possibly more "saggy"). As far as nailing or screwing anything, this is a great option if possible. Always ask the homeowner/house before you modify the location, in any way, even if it's a small hole, even if it can be easily repaired. Just because someone has the ability to putty something up, doesn't mean everyone is comfortable with making holes in their wall. Besides, those walls look like wood paneling (ie, painting over putty would not be the same as what's already there) If all else fails, the other option, although less desirable it seems, is to make a small menace arm and keep the base close to camera.

I completely second what Robert said. Don't start investing if you aren't sure your investments can pay off. You will be stuck with a bunch of expensive gear, and nowhere for it to go. Unless (1) you have people you can rent to and (2) they have a reason to go to you instead of another rental company, there is no real reason for you to start to take on all the headaches of insurance, liability, trustworthy staff, etc., etc. I'd also say this: know your gear. If you're at a point where you are describing a dolly as "the simple thingy with skater wheels type" -- it may not be the best time for you to invest in thousands of dollars/euros worth of equipment. Most gear owners/rental houses are run by old veterans who have worked in the industry for many years and know their stuff. They have moved onto the point where they want to run their own business. Part of being a rental house or company is your ability to maintain your equipment, fix it if necessary, service it, etc., and tell others about their specs and how to use it should they need the assistance. If a client wants to know how to change the speed of the boom on a Hustler IV, you (the rental company) should know how to do it. That sets a good company apart from a bad one. And who do you think has the most clients at the end of the day? The good one. Also, if you start buying crappy/cheap gear, people will know, and stop using you. This doesn't mean you cant buy second hand -- a lot of used gear is still in good shape, or at least serviceable shape. A little maintenance will make them fine. However, owning used gear that breaks down in the middle of a shoot, and not being able to help out the production is NOT fine. Word will quickly spread, and clients will quickly be lost.

well, I ordered a 16' piece of pipe, and honestly, I don't know exactly how far from the fulcrum it's going to be (I haven't seen the location or the needs of the space yet). 14' was just a rough guess, so I'll have to wait and see. Might only end up being 8'. But thanks for the suggestion -- I will tell them to have an over-under standing by. :)

Good point. I find this particularly true with television producer-types, and other line producers, etc. Unfortunately, the people who do much of the hiring. Although I find it quite amazing (and absurd??) that you missed out on a job because of the car you drove. This is one of the real disappointing things about IMDB, and I find it really terrible that people have begun to do this (hire based on it). IMDB is NOT a resume. It is an incomplete and sometimes misleading list of what one has worked on. Suppose someone has worked on hundreds of commercials and music videos, and their IMDB page only contains maybe 2 credits. Does this mean they are not qualified for the next job (talking about ALL crew positions)? Or, maybe someone dayplayed on 100 different high-profile studio features, but only worked 2 days on each, carrying sandbags around. They have 100 credits listed on IMDB. Does this make them qualified to head up his/her department on their next $20mil feature? In short, if whoever is doing the hiring is only looking at IMDB, then s/he is not doing their full job, IMO.

OK, seems pretty straight forward. Of course. Really? (I'm assuming you mean one of the couplers that allows for 2 pieces of speedrail, right?). I mean, I know 14' is a kinda long span, but, for instance, a mole richardson 2K spacelight is only around 15lbs if i remember correctly, and that's with everything on it (skirt). And I think we're just going to be using the silk. I've definitely hung heavier things than that off spans that long (and possibly longer). I will be, of course, ratcheting the points on the menace arm. Thanks for the replies :)

Hi, We will be shooting in a 2-story hotel room on Sunday, and we will be using a 2k spacelight ("2000w Space Light Package - (2 Head)"). I am going to be rigging it from a menace arm (roughly 14') which will be on a stand (probably low boy crank) on the second story of the room, arming off the balcony and into the center of the main room. I pretty much have it under control, but is there anything special I should know about the spacelight? There's no official gaffer/electric (besides the DP) on the shoot. What does "2 Head" mean? Is there any preffered/recommended/special/secret way to rig it to the speedrail? Thanks in advance for any tips :)

If you are going from/to the location for the job, yes, definitely. If you have to take additional airfare/rent a car/etc. during shooting as well, you can write that off. If you're just going to visit your aunt, then no. Generally, anything work related can be written off. But the question begs, what kind of shady production refuses to pay for your airfare? Also, you have to weigh the costs of whether or not it's even worth doing the job if you're spending all of that money -- your own -- to get there.

Agreed, resumes are not the norm for getting jobs in this industry. While I do have a resume, and have actually used it in the past (not in a long time though) those instances are few and far between. That being said, with the internet and the craigslists and the mandys out there, it seems as if sending out your resume to about 100 different ads and hoping that maybe ONE bites, is to be one of the primary outlets for someone who is just starting out PA'ing or doing freebee work. So to answer your question, I'd say yes, include a cover letter -- perhaps in the way of a short paragraph about yourself personally in the body of an email, and send the resume as an attachment (if the ad says that's allowed -- some people will not open/look at attachments). Make the cover letter personal, friendly, however you want it to be, so they can get a feel for you before your interview.

I'm not sure if you are asking a question, but just in case you are, "shimming" involves making the sure the track is level, and using wooden wedges or shims to even it out. Here is a crude picture of a very easy/basic leveling job: A professional grip can be a grip for 10 years, just gripping, and still be learning stuff.

really, i swear, yeah... i mean, i SAW it.... i promise..

Hmm.... never mind. Seems to have sorted itself out. Weird. We'll see how long it lasts...... :)

Sorry for the post, but... It seems like my avatar picture or something has been highjacked! (maybe?). My avatar which appears by my name, has always been a c-clamp, here, from this URL: Now, out of the blue, I have, what looks to be, some woman instead! I go to My Controls > Edit Avatar Settings, and the c-clamp pic is right there. Same thing with "Change Personal Photo." I have tried updating and re-uploading the c-clamp photo, but I still get this mysterious woman next to my name. Any help would be greatly appreciated! :)