Sean McClellan

Hey guys, I need to buy a clamp meter/Amp probe for a film coming up that i am gong to be working on and I was wondering what kind of meters you guys use when working on a film? Do you best boys use ideal clamp on meters, fluke meters, amp probe meters? What is the best kind of meter to go with? I was thinking about getting the Ideal 61-704 clamp meter because i think this would suit all of my needs. What do you guys think?

These shots are day shots and My DP wants to do some lighting setups for the wide shots. I do agree that the wall spreader is probably my best option as far as rigging the lights. I will check the owners and see if I can possibly mount some nail ons to the walls and ceiling. I appreciate everyone's input and I like all of the different ideas that you guys have come up with. Thanks, Sean McClellan

Hello, I am key grippng on a short film that is coming up soon and I am trying to figure out some ways to rig some lights to from the ceiling for our wide shots of the whole room. We cannot have anything in the shot so a terradactyl is out of the question. The biggest light that I would be using to rig would be a 650 watt light. Does anyone know some alternative ways or have any ideas on how I could rig some lights? The only thing that I could think of is using a 3 piece wall spreader. I don't want to use any baby nail-ons as they would leave holes in the ceiling. Any comments or suggestions are greatly appreciated. Also included are photos taken of the room.

As far as the resolution goes, a digital SLR such as a NIkon D80 or D200 will definitely match as they can capture up to 4k resolution. It can be pretty easy to match this with your 16mm film stock. As long as you get your exposures right they should cut together pretty seamlessly. The only thing that will be different is the latitude of your different formats as digital SLRs have around 7 stops of latitude and probably around 11-13 stops on the Fuji stocks? Im not too familiar with any of the Fuji stocks as I use Kodak vision 2 and 3. As far as the frequency of shots taken: if you are doing cloud shots a good time to interval is about 1 shot for every 15 seconds. Now you can set how many shots you actually want to take but to put this into perspective: 250 shots taken at 15 seconds apart=about 1 hour played back at 24 fps. If you want to check out the timelapse I have done here is the following link: http://vimeo.com/930001 Best of luck on your film, Sean McClellan

You should go tell the Gaffer to take his sniffer and start "sniffing" for something else. You were absolutely correct. If you safety the rig and the rig fails, BOOM! Your light falls to the ground. Always safety to the more permanent structure as everyone above has mentioned.

I know that some DP's will use what's called a wedge-light system. They'll take, for example; a 10k and bounce that to a 8'x8' or a 12'x12' grifflon and then take that bounce and put that through an 8'x8' or a 12'x12' silk and that creates a really nice soft wrap around beauty look.

Hello, I was wondering what kind of bags/pouches that gaffers tend to use. I am looking at buying one but i don't know what kind of brand the professionals use. If any of you can point me in the right direction that would be great. Also, what kinds of tools does a gaffer tend to have on him/her?

Just for those of you who wonder about house power, yes, I was in a soundstage and for that particular right I was pulling 155.5 amps

Hey just to let you know, this isnt about the lighting of the scene, but more or less just the gripping. It's a funny joke.

This is what happens when you have too much time with too many resources. Let me know what you guys think.