David Rakoczy

You most certainly are entitled to your opinion. May I suggest if you ever Produce a Feature Film or Commercial shot on 35mm or S16mm.. you contact a Videographer to do your 'Cinematography'....

I never said that.. never implied that. The Director of Photography is the person who is in charge of the Photography whether that be Film, Video or Stills. The issue is that (until recently) Dp has referred to 'Photo-Chemical Photography. That is why as a Film Dp I refer to myself as a Cinematographer and Video DPs as Videographers and Still DPs as Still Photographers... tho ALL are Directors of Photography in their own right. I believe Mr. Lachman's comment was very honest.

Brian is right on... All my Equipment is insured, but when I shoot for someone else 'they' need to insure it. Before any Equipment leaves my shop the Production Company MUST supply a Certificate of Insurance naming my Company as LOSS PAYEE or ADDITIONALLY INSURED.. without that, the Equipment sits.... even when I am the shooter (Cinematographer :-)

Given that (and there's squishy area in here), I'd suggest that a Cameraman who is shooting with one camera and lighting the set by himself with no Assistants, additional cameras, or a "full" Grip/Electric crew is not "directing" anything, therefore it would not be accurate to title him as a DP for that specific project. Titles are more than vanity plates for a business card. They translate into how someone perceives you, the kinds of work you do, and into actual dollar signs. And for what it's worth, I detected a bit of that "film superiority" in the post above, as if to imply that shooting film is somehow more difficult than shooting electronically thereby making Cinematographers inherently better. I'd disagree. While certainly the projects that are shot on film tend to be more "prestigious," from a purely technical standpoint, shooting electronically can be far more difficult as the technology is more complicated to learn and the parameters can be more limiting (ie, controlling depth-of-field, limited latitude, etc.). On the other hand, filmstock tends to give Cameramen far more latitude and flexibility so you don't have to entirely "perfect" when shooting. You really have to be on your game to shoot video well. For film, you can "miss" a little and still be ok. The first paragraph is inaccurate. I, and many others, have shot smaller set ups such as table top.. some even by myself... now, that does not take away from the Director of Photography essence. The size of the crew (or lack of crew) does in no way adjust the title of the DP. The last paragraph is based on your own insecurity. I made no condescending comment. I did not imply what you have stated. I am simply trying to help us and those who hire us use proper definitions. Why are Videographers so uptight about what they do and their title? I have seen loads of beautiful HD and SD images from talented Videographers that blow away lots of Film DP's... or 'so called' Cinematographer's. That is why I said as a Film DP... I will use Cinematographer But since you have brought it up, please do not deceive yourself.. shooting Film with Light Meters only and no monitor demands more discipline than standing in front of a HD monitor lighting by what you actually see.. not what you know the Film will do. I believe your last comment will only fan the flames of debate on this issue. .

_____________________________ Yes, I believe it does make you a Videographer. You are recording onto Video Tape.. whether HD or SD. The Wikpedia definition you posted is very flawed. They include FILM w/ Videography (?)! See the definition posted. It is our responsibility to clear this up. I just wrapped a piece for the Discovery Channel and everyone on the crew kept talking about what we were 'filming'.. we weren't 'filming'.. we were taping in HD. Looks like us 'Film' DPs will have to go back to the old school 'Cinematographer' title to define what we do. As it stands, a search for a DP will get you many many Videographers who rarely (if ever) shoot or have shot Film.

Here is a still from a S16 Project shot on 200t rated at 100. There is a bit of noise in the blue scrubs but when picture is rolling it is hardly noticeable. My advice, shoot longer lenses to limit the expanse you need to light unless you absolutely need to establish a location. Shoot at a low f-stop and get some soft fore and background and don't be afraid to pound light. It is fun! The hot spots on the equipment in the background where 1ks full spot just out of shot and were (incident) an 8 - 11. I believe we rolled at 2.8 but I may have dropped a ND3 and gone at a 2. You received a lot of great advice from a lot of talented folks in this thread.. go knock em dead!

Victory Cinevideo Battery - Burbank, CA (818) 576-9600 victorycinevideobattery.com

Find a good Producer/ Production Manager. They will walk you through the Process and let you know if it can be done for your Budget. They will also show you where the 'pitfalls' are. There is simply way way too much information to impart to you. I have been in the 'Business' for over twenty years and still continue to learn. If you have the Story... and a Budget (Funds)... seek a Producer/ Production Manager. Best of Luck.. we need new Filmmakers! p.s. Thank you for your Service!

So would it be better to choose 500T rated at 320 or 200T rated at 160 to get better quality images? I shouldnt have a problem re-planning my lighting setups but i would be shooting at fairly low f-stops on the 200T I, personally, stay away from 500t... at all costs. I prefer a cleaner, less grainy image. I (try) to make my S16 look like 35mm so the fastest I go is 200t. I always rate it to overexpose one stop (100asa). I prefer to push 200t (1 - 1 1/2 stops) if absolutely necessary before going to 500t.. but let's face it.. there can be a time when in a large dark interior or exterior and there simply is not enough illumination so 500t or 500d is the call... better to have grainy information than none at all in the dark details. Keep rolling Film! Keep it alive!

mmmm... I am not a scientist or mechanical engineer. All I know is they cost a little over a buck a piece... and one on each Gobo does wonders! I used them... fell in love with them... and ordered a bag full for my personal C-Stands. Try them yourself... using them is believing. I am amazed I never saw these used this way in my 22 plus years in Hollywood.

Robert is correct.. I wasted a set the first time I (unnecessarily) CRANKED a C Stand that had them (out of habit) . The Truck Driver threw a new one on, showed me how to use it properly and BAM... they worked great from then on. They work AMAZING!

Your's has a much different looking shaft though.. is that a low-mode version? It isn't a Low Mode version... it has much more of a Boom Range than what is stated in that article. It goes from 25 inches to at least 6 ft. It really Booms high now that the Hydraulic Arm has been rebuilt and the proper amount of Fluid has been added. The Steering Mechanism was pretty easy to adjust and operates great now. All in All I have $5,000 USD and a lot of elbow grease invested in it. Well worth it. You should make an offer... get one while you can :-) The Hydraulic Post easily removes along with the Push Bar/ Steering Assembly so you can have a low profile Platform say for a Hi Hat. it is basically a Pee Wee without the Round-d-round / Track ability. It is extremely SOLID... I just need to make a pair of Skateboard Troughs for it. In the meantime I use an American Doorway/ Skateboard Wheel & Cadillac Track combo.

On second thought I may have quoted the weight incorrectly. I got the 275lb. from this article: http://books.google.com/books?id=4kJ0Vobgn...Zhd13qBElgWApFk But honestly, it felt more like 200 or 225lbs... they (in the article) may be quoting the total weight with everything on it, but once you remove the Seat Assembly, Sideboards as well as the BOOM WEIGHT (50lbs) it is very very manageable. That makes much more sense. You are right John.. I am not THAT strong! I have (properly) attached a photo. David Rakoczy Dir/ DP USA

Hi John, I had a pair of Lifting Bars made for it and it really is a cinch. I am 44 years old... not some eager beaver.. well I used to be, but not any more, and me + one can easily Load & Unload from a pick up truck... tho I usually rent a Penske Truck with a Lift Gate. btw.. an Elemack can not compete with this Dolly on any level. David Rakoczy Dir/ DP USA

275lbs is not THAT heavy. Two guys can easily lift it in and out of a pick up Truck. When you are used to dealing with Pee Wees and Fisher 11s the Colortran is a piece of cake! Glad to see you are a member Craig :-) Ladies & Gentlemen.. allow me to introduce Craig Meadows... the gentleman who was so kind as to allow me to purchase his Colortran Dolly. Thanks Craig! David Rakoczy Dir/ DP USA

Here are a coouple more: 1. Do not use the Gobo Arm unless absolutely necessary. 2. Dry to 'dead hang' all Flags if possible. If you have a 2x3 or 4x4 standing straight up (with the pin at the bottom),it has a MUCH better chance of swinging down and even loosening and dropping out than if you 'dead hang' it with the pin at the top so that Gravity is working with you. 3. Of course Righty Tighty, not Lefty Loosey, when Arming or setting Flags parrallel to the ground. 4. When a Flag it set (or dead hung) hanging close to the riser have the 'flag' side towards camera. the less chrom facing Camera the better. 5. Always use the lowest (thickest) Riser possibel... save the last, top thin one as a last result. David Rakoczy Dir/ DP USA

Josh, Besides the additional things Darryl aptly explained, the one thing that has not be emphasized is the Setting of Flags. When you become proficient at Operating a Dolly [and] Setting Flags, you will then be an asset to any Lighting/ Grip Team. As Dolly Grip it will be expected of you to Set any Flags near Camera.. esp. any Lensers.... and if you are Setting them lefty-Loosey or just plain wacky you will not be in demand no matter how good a Dolly Grip you are. That is why it is important to just get out there and Grip, Grip, Grip... in any capacity. All the Best! David Rakoczy Dir/ DP (ex Dolly Grip) USA.

Hi Darryl, Thanks for commenting on the post. Thank you even more for sharing your Dolly Blog. That is too cool. Your partner posted my write up on my Colortran Dolly. I have shared your Blog with my Grip Crew and they think it IS the Definitive Site for Camera Movement! btw... those Track Jacks ROCK!!!!! David Rakoczy Dir/ DP USA

(pushing a dolly is basically pushing a dolly)... mmmm not really. Pushing/ Pulling is one thing... and there are crew who can't get that right. Add a Boom rise to a shot then Track left and Boom down... and hit another 4 - 6 additional Move and Booms in the same take and that separates the boys from the Dolly Operators. A previous Poster was right on. As Dolly Grip you are a Camera Operator. No doubt. Good Luck! I did it for years in Hollywood and loved being close to the Action/ Camera. You learn a tremendous amount keeping aware and listening to the DP, 1st AC, 1st AD , Gaffer and Key and sometimes the Director. Almost all technical Lighting and Blocking discussions take place on or around the Dolly and you are right there to soak it up... Lighting Ratios, Stops, Filters... Coverage of the Scene, on and on... even stuff you don't want to hear or even know about! How awesome is that?. If this is something you love it is fantastic. You will work for it though... Placing Dolly Grip on a business card is a great start. Identify yourself. Then you will have to prove to the Key Grip and DP you can do it and do it. Pretty much you will get all your gigs thru the DP, Key and Best Boy so as a previous Poster wrote get out there and Grip.. just plain Grip and migrate into that world located at the center of the vortex called CAMERA! I used to go out for free all the time and shlep Sand Bags for Keys, BBs and other Grips that knew I would go and I'll tell you I did not get paid but I sure did get to work a LOT! I did the same with Electric crews. It wasn't long before these guys were confident in my abilities and had me on payroll. I did the same thing (later) moving from Gaffer to DP... I shot a ton Free! Lots of Shorts, Music Videos, Spec Spots and even full blown 4 week features. Every move up involved my getting out there and proving myself first before folks would pay me to do the job. That's ok. If it were easy everyone would be doing it....ooops wait... they are!... all the more of a reason. Enjoy each day! David Rakoczy Dir/ DP USA

Five years ago I left Los Angeles and settled in a small town on the east coast. When I arrived I began networking with the local production guys and ran into a videographer who said he had a Dolly in his shed. He asked me if I wanted to buy it. Sure- I said as that was one piece of equipment I never imagined owning but could put to good use. So I went to look at this thing. I was an old Colortran Dolly. Rusted and neglected there it sat. Upon further examination I found it uses CO2 tanks to operate the Boom. He said $250 and it is yours, the Dolly and three Tanks. I grabbed one of the spare tanks and had it filled with fresh CO2 and went back to his place to see if the Boom still worked. We connected the tank, hit the Boom Up Lever and sure as heck the Boom rose smooth as silk. I turned to him and offered $300 if he would deliver it to my garage. Three hours later it was mine! I spent the next week sanding, sprayed the chassis Pee Wee Gray and gave it a full detail. It was now in great shape but was lacking a Leveling Head and needed a new Seat as the old HUGE leather one was hideous. Chapman of Hollywood was kind enough to sell me a Pee Wee Leveling Head as well as a new Pee Wee Seat. Now it was KILLER! Fully detailed and operational... but, It has Front, Rear and Crab Steering and the Steering mechanism would not stay in any gear and needed to be firmly held in place when steering which made it not so fun for a Dolly Grip... but what the heck... it is a cool Dolly and it is all I have so we used it until about a month ago on our last shoot when the Dolly was unloaded from the truck there was a conspicuous oil puddle under the Dolly. They brought it to the Set and sure enough the Boom would not operate. Frickn great I thought. Now I own an expensive Prop! Sure the Dolly itself was cheap but that Leveling Head was not and I had tons of hours invested in sanding, painting and detailing... now what?. My Dolly Grip who also does Special Effects offered to have a go at its repair so I let him take it. I got the Dolly back yesterday FULLY OPERATIONAL.. yes the Steering Mechanism was adjusted, all Co2 & Hydraulic lines replaced, new CO2 Tank connector and unbelievebly the Boom and all Pistons etc.. received new O Rings! Now for the first time this Dolly is in its Original Working Order! Ya baby! I can not tell you how happy I am to have this Dolly back and in the condition it is in. It works fantastic! It is perfect as a Set Dolly and I use my American Door Way Dolly with Skateboard Wheels and Cadillac Track for any regular Dolly/ Track type moves... but the Colortran is perfect for the Set/ Studio! I am writing this as there has got to be other folks who have one of these Dollies sitting collecting dust because the Boom or Steering is out of order..but alas! There is hope. If you or someone you know owns one and wants it serviced please do not hesitate to contact me off list and I will get you in contact with my Dolly Grip/ Mechanic. Listmums, I know that posting for business is not allowed and if you see this post as against any rules please let me know. I just know there has got to be a bunch of these sitting idle and neglected and thought if its owner(s) had someone they could turn to to have their Dolly revived they would really appreciate it. There is a pic of the Dolly at my website/ Demo Reel/ Behind the Scenes video. David (Blessed to own my own Dolly) Rakoczy Dir/ DP USA www.EmeraldCoastFilmworks.com