Daniel Wallens

I'd say that many of the professional members here would hardly say that at all. Hell, you just paid $200 for some "grippage." Can it be done cheaply? Yes, just as any other part of the production process. But, as they say, you get what you pay for ;)

Hi Tim, Thanks for the reply. Lots of valuable information there. I don?t know why, but I guess for some reason I was under the wrong impression that, although teamsters drove the trucks of course, a separate entity was in charge of the gennies (maybe I was confusing how things were done in LA). I now know that 52 is responsible for that as well. Yes, this was something I mentioned. Really, it was to get an idea of the workings of the two unions, and how they relate to each other. I do have an interest in shooting, but right now, I consider myself a grip, a professional one at that (hell, it?s how I pay my rent) and that?s what I love doing. I?d rather this not become a thread about which union I should join. That was never my intention. I created it to get information, and to help my understanding of the inner workings of 52 (and 600, to a lesser extent). The information that you, Frank, Joe and others have given me is invaluable, and I thank you for that. In time, yes, it may turn out that I want to end up shooting. At that time, that?s where my focus may lead. Right now though, it has become frustrating because I want to do what I love, and I?ve had to turn down several jobs, very desirable jobs, because I am not an IATSE member. If posting on this board can help give me both information and confidence in terms of allowing me someday to become a member and do what I love to do, then that is all I ask, and I will be happy with that. You will, undeniably, be a part of that, and for that, you have my utmost respect. -DW

ADs and ACs (again, both very different jobs in different departments) generally do not have reels. Although film production in general is a creative field, and, I believe, everyone needs to have some element of a creative sensibility, I would not say that the AC or the AD has the most creative job on set, at least not visually, and hence no need for a reel. Generally, if you see a position requiring a reel for an AC or AD job opening, then you can pretty much assume the one posting the job is not very experienced. ACs and ADs are not really hired on the bases of people looking at clips of productions they've worked on -- they're hired based on their prior work, and recommendations. The people who generally have reels are DPs, camera ops, directors, sometimes producers, editors, etc. A DoP will make a reel which shows off his/her lighting skills and creativity with the camera. An editor's reel will show off his/her ability to cut something together coherently and with creativity. Oftentimes, once they have a large enough body of work, a DP may make more than one reel, say, a commercial reel, and a narrative reel, to show that he/she is marketable and skilled in both styles.

Hi again Frank! Course thread or fine thread? ;) Thank you for your response. That's exactly the kind of response I wanted to hear -- nothing with exact questions, but just an idea of what the tests were like. However -- and please don't take this the wrong way -- I'd love to hear about the test from a grip. As you indicate, it seems as though the electric and grip tests are very different, with the grip side being much more (insanely!!) difficult. I think a grip may be able to bring even more information to the table. Do you have any tips or suggestions for getting work with more union people? Tim mentioned that I should "Try applying and then can probably work on permit when it is busy." Do you know anything about this, and how this works? The next application time is July 2008, before the winter. Thanks again! :) DW

Looks much improved, IMO. I'm still not really sure what the difference is between "Professional Experience" and "Film Experience" in the general sense of the terms themselves. Also, it may be a bit misleading to say that working on an "Up All Night Episode" is film experience, when it isn't really a film. I'm not really sure what to do about it; perhaps some others have some ideas.

To robert and JD: I was under the impression that vertical lifts (such as a manlift) and scaffolds were out of the question, since the OP said "now it's all fenced in." and that's why he couldn't use a scissorlift. Since Jason mentioned that he can't use anything that just goes straight up from the ground, the only thing that's left is something with a boom (with the base sitting on the paved roadway area) or placing something directly on the bleachers. Unless I'm missing something here, I thought the fenced-in area was off limits. Jason, how restricted is the grassy, fenced-in area? Are you just not allowed to bring in vehicles? Or can you not step foot or set gear down in there at all?

Thanks so much for your reply :) Really? My impression was that the written test itself is inexplicably hard. Am I wrong about this? I will be taking the grip test. So does this mean that if I apply, and don't pass or make it in, I can get to work on permit? Is this automatic, or just my chances of working on permit go up? How does this work exactly? Well, to be honest, I don't really know about shooting. My first post was out of curiosity, the "legalities" of the unions... and my heart knows that it loves gripping, and this is what I see myself doing for the foreseeable future. By the way, I must admit I looked you up, Tim. You've done a lot of work and it's impressive. I notice that you often do gennie op work -- I was under the impression that there was a separate union for that. Am I wrong? And how would you rate the electric test for 52 in terms of difficulty?

close Travis, but you gave me an idea I didn't want to respond to before... (really, I didn't mention it earlier because it is NOT the safest way to go, and I do NOT recommend it, but I do know that DPs can sometimes be demanding). If the grandstand has vertical polls where you want the light, leave a mambo skinnied up and put it on whichever step of the grandstand you want it. chain-vise the hell out of it to the handrails of the grandstand, and make sure to safety it. Then you can go up on the stick (I'd say DON'T use the top riser -- and use your judgment on how high it should go, depending on winds, etc.). Make sure to check the integrity of the handrail system where you put the light/stand beforehand. Again, although I advise against this method, it is probably the easiest and cheapest way to get closest to what you need. If you can, do it right, and get a condor.

The content you have there on the first page is not a cover letter. Career objectives and experiences, separated like that, do not go in the cover letter. A cover letter is a short paragraph (or two) written out in standard paragraph form that can highlight general achievements, explain why you are the best for the job, your ability/how you work with others, and whatever else you think they should know about you personally. The cover letter conveys what is not listed in the resume. http://www.wikihow.com/Write-a-Cover-Letter http://jobsearch.about.com/od/coverletters/a/aa030401a.htm http://chronicle.com/jobs/2000/03/2000030302c.htm Sorry about that. Maybe the formatting is wrong on my machine. This is how it looks on my computer: If that's not how it looks on yours, then maybe something happened in the transfer. If it is how yours look, then you don't need that blank space there, after "segments." and before the next section. This is really up to you, whatever you think works best. It is also fine to tailer this to each individual job you apply for. Perhaps some others have some ideas on this as well. 2nd AC is 2nd Assistant Camera. While this may seem similar to a "2nd Assistant Cinematographer" idea, it really isn't. There is a very set and specific bunch of jobs the 2nd AC has, and as you work on bigger and more involved productions, you will realize that this is quite separate from the DP's job. And yes, tapes and batteries are the responsibility of the 2nd AC. My apologies, I guess I wasn't clear. I just meant different jobs, or listings of each "thing." Honestly, I don't really know. Perhaps someone else can field this better than me. I haven't really come across many resumes where one person held so many different jobs for the same company. Usually, I'd say yes, listing the company is a good thing. Although this is not present on all resumes, I generally recommend it. And a definite yes to the date. All jobs, at this point in your career, should have a date. -Daniel

condor? or, if there's no money, candlestick? (but if doing it that way I wouldn't go as high as the blue box).

Just to start you off: #1: One page! Generally, rule of thumb is to keep your resume to 1 page. Especially with someone of your experience, there's no reason to have all that wasted empty blank space after the word "segments." After you have 10 years of experience as a professional in one specific craft, you can go onto a second page. #2: Try to focus your Career Objectives more. Perhaps a goal that is something more specific than an AC/assistant editor/post-production/producer/writer/director. #3: There's no such thing as a "2nd Assistant Cinematographer." Hand this to any professional, and they are likely to see your experience level very quickly. There is such a thing as a "2nd AC" which is a very specific job. I suppose if you're working for a big DP, that person will have personal assistants who get him/her cups of coffee (David M.?). But in terms of cinematographers, there's only 1 of those per shoot. As for the rest, generally bullet points on resumes are split up by the job, or who you worked for, not by what position you held. Since it seems you really only worked for one place, this may be tricky in your case. Perhaps some others have an idea on how to approach that.

Well, I stopped into IA52 today (at your recommendation, Joe). People were pleasant enough, but, as I thought, information was not thrown at me. Really, I didn't expect it to. They just basically told me to go to their website, and that would have all the information. So really, I am still apprehensive about the test and also the chances of the vote. I suppose there really isn't any way to find out more about these until I actually go through the application process -- unless someone has any other suggestions..?

Hi Joe and Frank, Thanks for your informative responses ? your information is invaluable. Although, I must admit, I?m now a bit confused after hearing that one should ?...keep trying. its not impossible, imho anyone who really want to get in, gets in, eventually.? and then reading about Frank?s ultimately unsuccessful dealings with 52 after many, many, many tries (although he did say that he didn?t ?really want to be a union juicer anyway?). Regardless, I applaud your persistence, Frank, and admire your determination. As for my personal experiences, to parallel yours, Frank, I too have worked on a couple of features ? recently ? that just happened to go union in the middle of shooting (same budget as you mentioned, 1-2+ mil). In terms of LOC52, virtually nothing happened. No one was walked in, no one got paid differently. Hours of the days didn?t change, no one new was brought on. The only thing that really changed was that meal penalties went up about buck, I think. It seems that getting walked into the union is a thing of the past (perhaps a thing of the distant future). I?d love to be able to hire a union grip on something I key ? it?s just that this is generally highly unlikely because (1) they would never take it, and (2) they generally aren?t allowed to take it. The reverse is also difficult: I rarely work with a union key because they are required (generally) to hire union grips. It?s just become a little frustrating for me personally lately: I have now had to give up 3 or 4 jobs in the past few months (including keying one feature with a great, fairly well known DP I really like working with and admire) because they were union, even though the DP, producer, or UPM wanted me on the job. I have always been told ?there?s no point in joining the union until you start getting calls for union jobs.? Well, that?s happening, and I?m afraid I don?t know enough union keys/old timers, and also, I?m a bit afraid of the test, I must admit. (and damn, Joe, your name really does sound familiar. I think I?ve worked on something with you, I have no idea what though!)

It's shooting around my corner. Parked catering in front of my doorstep. :o Just was curious if there were any board members working on it. Cheers, DW

These are quite common, and several manufacturers make them, and are common at most rental houses: http://www.microdolly.com/micro_6.html http://www.cinemagadgets.com/camera-suppor...358e6cf0f66749b I am not sure why you are wanting to get it manufactured -- it may be easier and probably cheaper just to rent it.

#1. Robert is right, they shouldn't. However, not every rental house keeps their gear in the best of shape (especially here in NYC -- some houses have better reputations than others). The soft compounds may be worn in certain areas, making them more susceptible to warping or (at least temporary) indentation. Air pressure can be a factor too -- check with Fisher (818-846-8366 in CA) to see what the tire pressure should be (not every joe and harry at the rental house will know); this will not only affect your indentation worry, but also the dolly's performance in general. This is something that should be made sure of during the checkout. Also, you might want to check out soft wheels (different than soft compound wheels, and something we did not use on that shoot). They are harder and more durable. They are more common in terms of availability (especially with smaller, cheaper houses), and they may be fine for what you are doing. #2. Noticability is somewhat in the eye of the beholder. I have dolly gripped for some guys that were absolutely anal, and others who didn't care as much. Often, it just depends on the shot, and also the lens being used. For me, if I see and feel with my hand the seams in the floor (like on a tiled kitchen floor, with about 1cm of grout in between the tiles) then I like to do what I can to make the ride as smooth as possible. If it's like a hospital or supermarket, where the linoleum tiles are butt up right against each other, then little modification to the dolly might be fine. Ultimately, I think it's best to have a good rapport with your camera op and DP to see what they are comfortable with, and what will make the shot work. Eventually, once you are "vibing" with them, you will know what they want before they even have to think about it. Also, changing dolly wheels should NOT take that much time at all. An experienced grip can change 8 tires in well under 5 minutes (on that shoot that you were talking about, I believe, things went a bit slower because of the general pace, level of experience, and atmosphere of the shoot).

Hey all new replyers! Thanks for bringing this thread back to life. Lots of good, new information -- thank you :) Andrew, I also have heard the test is quite difficult. Of course, this is all I know -- I've never seen/been told of a sample test, or know what the specific questions are like. If I were to ask for some examples here, or ask to see an old test, etc., would I be breaking some sort of code? Ethical, lawful, or otherwise? When people say hard, are we talking "you have to know the max and min height to the inch for a Sidewinder dolly when using low mode" kinda questions? Do you have to know how to assemble a supertechno on your own? Do you need to know the maximum height of a Grove AMZ68 at 30 degrees? Or are we talking about questions like the differences between box, triangle, and tower truss? The term "difficult" can mean different things depending on what one is used to doing, I guess. Also, in terms of aerial lift certification: according to the initiation rules (http://www.iatselocal52.org/pdfs/application%20process.pdf), you must be aerial lift certified before finalizing the initiation into the union. Apparently, when you first file they will set you up with an aerial lift course and the chance at certification (or at least they'll give you info about it). BUT, suppose I do it on my own? Will it be acceptable if I get certified on my own (National Safety Services, I think, are the ones who provide official certification) and come in to apply to the union when I am already certified? Is there any benefit to doing it this way? Or the other? (maybe one is cheaper??) Also, Andrew, did you get your filing fee back ($750, I think?) Joe, Thanks very much for the tip -- good to know! :)

Ah, but the important question is, are you guys working together now? ;) Cheers, Daniel W.

Several things: -Who's involved. This can mean both friends, and celebrities. If a bunch of my buddies are doing it, I know it will be fun. Likewise, if Deakins or Kuras is shooting it, I'd do it too. Hell, if it has enough stars in it that I admire, that may weigh in as well. -Length. Generally, I find it hard to do free work for too long. Both because it may interfere with paid work, and also because, eventually, say, after 6 weeks on a feature (if I were to do that) I'd feel like I'd actually deserve some real compensation for my hard work. Shorter jobs are generally easier to take (mentally) than longer ones. -Gear. Yes, I must admit it. For me, a guy who likes new toys, this does in fact play a part (albeit not a huge part). But if the shoot will be using a bunch of new camera systems, bunches of cool doggicam rigs, specialty gear, etc., then I will be more inclined to have the chance to work with them. -Workload. Obviously, you aren't going to take a free job when you just got off two features, and have 4 days until you have 2 commercials followed by another feature. You will want your rest. -General feeling you get beforehand from the people involved. If you talk on the phone, or meet, with the DP, producer, PM, or whoever else, and they seem nice, agreeable, courteous, genuine, and honest, this is by far the most important thing. If the first thing someone says to you over the phone is "We're working at least 12 or 14 hour days, no OT, no meal penalties, no grace" and there is no mention of any crafty on set, then you can pretty much get an idea of how the set will be run. If they don't seem flexible or enjoyable, and they start up by pushing paperwork in your face, then you might want to get out of it. The general vibe is what I go off of the most. Many above-the-line people have the thought that, since you are doing it for free, you should feel lucky to have the chance to work for them and get experience. They often forget that it is actually you who is doing them the favor. -Nature of the shoot. Some kinds of jobs, when described to you, just aren't made for the low budget world. For instance, when a pro bono job tells you they can't afford to pay you, but then they say that they are doing a shoot in Iceland, and it will be all exteriors, you may want to think about what else they can't afford: heaters? Tents? The same might go for an overly ambitious job (of which there are many in the low-budget world), such as a micro-budget short that includes car chases, things blowing up, stunts, aerials, etc. -DW

Anton, I'm keying a job with the RED right now. Give me a call. I'll get you on set. You know my number ;) Not necessarily (see above). Depending on the town, many people have made many friends, and friends do favors, including rental companies. It is not unheard of that a rental house will give a fantastic rate on some equipment to a guy they've known for 20 years. Yes, even things shot on film claim to not be able to afford to pay -- and this may be true. It's all where the producer's/financier's priorities lay. They may settle for a less experienced crew if it means shooting 35 (no, don't try to rationalize it). It may even be more of a technical experiment or that a DP and a producer who are old friends what to do. Some crew people will do it for the experience, some will do it for a friend, some will do it to check out new stuff... whatever the reason, it will or will not get done, and the quality of the outcome will depend on the crew that's involved. Yet another red flag. This is the exact opposite of what it's supposed to be. In NYC, in order to shoot, the company must be insured a minimum of $1 million (to file for a filming permit). Why? It's so that the production can pay for any damages that occur. True, the key grip on set is responsible for safety. But that person can't be everywhere at once, and no (legitimate) production company, producer, or UPM is going to blame you or hold you responsible if a PA driving a cube truck hits an old lady 20 miles away from set while picking up 9 volt batteries (if this is what that waiver implied). Otherwise, I think everything else that was said was right on target. Clearly, not a wise move. If they're shooting on the RED, fine, they can say that, and some people might find that as a reason to sign up. That is entirely up to them. After all, 4 days ain't a lot, even if you're working with a bunch of idiots (I got lucky). But the moment they start making promises and (especially) sign unimaginable documents, it's a pretty obvious choice. -DW

Hello all, I am fully aware that being concerned with others' rates while working is a considerable faux pas, but something has been egging me for a bit. How does the key grip's rate compare to the gaffer's? Are they usually/supposed to be the same? I was under the impression that it was. Also, does the BB grip generally have the same rate as the dolly grip? Of course, I know this depends on the production, the relationship of the hire-ie, and the deal one works out at the beginning, before production. But in general, typically, are these people supposed to make the same amount? Discounting kit rentals, of course.

Most any frame/overhead/butterfly that is supplied by a rental house or in a grip kit or truck will be solid enough in, as you say, a "light wind." Most are made out of aluminum, square or round (speed rail), and most are made plenty solid. As long as it's put together correctly and with attention, a light wind will not disrupt the actual integrity of the frame itself. More important is how the frame is secured and safetied. Please make sure you have grips who know what they are doing, and a key who knows what is safe and what isn't. He or she should be the one worried about how the frame is put together, weighted and tied down, and safety in general. He or she should know when it is not advisable to use a frame of a certain size in certain weather conditions. As long as its properly secured, a light wind should not compromise the integrity of the joints, frame, or hardware in general.

Nice stuff, SGS. Thanks for the info, Mr. Duke. But they are Amsterdam-based; do you know of any places in NYC that rent their stuff?

ian mussell, No. that is more like a gator grip (although not really), which, in my opinion, are less desirable for holding bboard. This is a duckbill. It is basically just a modified vise-grip:

Sandbags and shotbags generally serve the same overall purpose, but common sense and experience will tell you when to use one over the other. For instance, generally, on a small c-stand (narrow base 20" c-stand) a shot bag generally sits better because the legs aren't long enough to support the size of a full sandbag. Shotties are good for when you don't need a lot of weight, but when something just needs to be weighted down (if you have some beadboard on the ground outside for some reason, and you don't want it to blow away or be moved). A shotbag may be better for marking an actor if there are a bunch of actors clustered together. Tons of other uses, but it really just depends on the situation. Keep in mind, that a quick fix for a hole in a sandbag is tape it up with some gaffers tape. After that, the rental house should be responsible for sewing it back up again. I don't know if you own them, but perhaps the manufacturer has a similar policy (maybe someone else on the board can field that issue). As for where to get them, I know Filmtools sells empty bags. Barbizon in NY also sells sandbags, but may only have a limited amount of empty ones. You may be able to go directly to the manufacturer to get them as well. :)