James Puli

Dave - your right. They were blaming all the other frequencies bouncing around the NAB show hall for not allowing wireless. Hmm you think thats always an awesome selling point ... being able to be wireless around NAB! Oh well not for them. In the long and short - Dont go near it! I've played with it, tested it and spoken to the Red Rock guys at NAB's, Cinegears etc going back to 2009 They've been saying its coming for years are still yet to deliver! Theres good ideas there, but I almost think they're in over their head. Its a no brainer .... Get a Bartech! Will work out far cheaper, and generally better in the long run!

Hey Guys (Hey Robert, hows things going on your side of the world? Well done with the SOC!) We run workshops here in Australia as well. www.summerfilmschool.com also advertised on SOA website. Theres still spaces in Janurary's school! JP Melboune Australia

I carry a 4x4 optical flat (piece of clear glass basically) in my kit when i'm focus pulling. I just find that its a handy one to have, especaially when you dont know your locations and you may or may not get one from the rental company (i tend to forget to ask for them unless i know im going to need one). I know a few AC's who have a few of the essentials 85's, ND's, Polas, Grads ... but I find I tend to work with DOP's who have their own kits these days ... they carry them around in their briefcase next to their meters as part of their essential kit. JP AC / Steadicam Melbourne Australia

Hey Jake ... contact the NSW FTO. If they operate in a similar way to Film Victoria they offer attachments on various productions. They can be pretty strict on entry requirements etc though. Otherwise contact either of the DOP's you mentioned and find out what they are shooting next and get on as an attachment that way. Use the contacts (Dp's Focus Pullers, Producers etc) you have made and keep at it. Look at www.Filmnet.org.au or mandy etc and they mite be of some more help to you. JP AC / Steadicam Melbourne Australia

Hey Phil and guys Ive done a fair bit of this sort of work latley and its basically become data management or on some shoots ive been called "data wrangler". Copying files from memory cards etc to computers and fileing them properly. Im not a fan of it myself, but take the work when its there. Dont even ask me about the pay as its generally way below the loader and even the split operator as its the new additional luxary position in the camera department that producers dont want to pay for. The role of "Clapper Loader" is essentially the same, being on set doing sheets, slates, helping the focus puller out etc. But tis when your either sitting in front of the computer instead of in the darkroom thats the difference. Im still not sold on the whole hdd recording as opposed to tape, film or even disc's (like XDCam). Time will tell because this is the way everything is going. And im sure we will all learn to like it. JP

Im not sure what the AC's are getting on big budget things these days. But i would assume it was at least twice the award rate or somewhere around the $2000ish per week. On a feature, Vs a week on a TVC could be alot (alot) higher. Also the rate you described as $500 a day for TVC's is about the average here I believe. Some of the better AC's will charge more and get it, and others wont get that. Loaders, around the $350-$400ish i think is a reasonable rate for a trainee - top notch loader. In addition to this, most Focus Pullers here will own their own truck and a bit of their own gear (video monitors, often a Preston or BFD, Cinetape etc) and will add that to their weeks wage. (Sorry it wouldnt let me edit my own post)

The other point here is daily rates Vs weekly rates. For a feature I will generally be working on a weekly rate which will be signifigantly less then my commercial rate for 5 days. And this will of course depend on the production. In Aus the Award rate for a Focus Puller is $1233 per week. But if you are working as a Camera Assistant and the Loader it is $1000 per week. Generally it will be up alot more then this but for low budget productions this is what we can expect. Hope its a bit of help. JP

I started loading at 16, Focus Pulling at 18, Operating at 20, Steadicam at 22, DPing at 23. Granted I had a father who was a cameraman so had oppotunities early, but it doesnt matter. It all depends on the oppotunities you get and obviousley not moving up before you think you are ready to do so. I got lucky and started working with a good group of people who were all fantastic at what they did and were moving up through the positions whilst at film school. So I simply went with them and learnt the hard way as we went along. Another good way of learning and seeing how it all works is working as a Video Split Operator / Video Asist Operator. I found it a fantastic way to learn, because you get to speek to Directors, Continuity, AD's and of course your Camera Department. Filling in for the loader when he/she is off set etc is great. I operated split on a Spike Jonez movie last year (on the minitures unit) and had a fantstic time because I had more time to ask questions (when appropriate of course) and observe alot more of what was going on and see how it was all working in that bigger scale (production) environment. Now at 23, Im shooting a fair bit of video, Operating Steadicam on what ever comes my way and Focus Pulling / Loading as my in and out day job. I must say that I am a bit picky about some of the jobs that come my way. Especially when it comes to Focus Pulling and Steadicam operating. In these cases it will all depend on the DOP and wether I think I am ready and prepaired to do the job or not. At the end of the day, its all about knowing the gear, processes, procedures and going from there. Age has nothing to do with it most of the time. Just dont stuff it up!! JP Melbourne Australia

I was really lucky when I started ACing. I inherited it all from my father who had been an AC for 15 years and had recently moved up to shooting and Steadicaming and kept all his gear. Have obviousley updated bits and pieces, but I often prefer the old school way of doing things and definantly love workign with old school DOP's. JP Melbourne Australia

I had the pleasure of meeting Mr Kovacs at Cinegear, and he also signed his book for me. Which I will now treasure the rest of my career. Being from Australia and admiring his work sooooo much from a far, it was a fantastic experience to meet him and have a chat with him, And also have him wish me the best of luck for my career. An absolute honor and a privlage. RIP JP Melbourne Australia