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Dan Collins

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  1. Thank you to all who gave genuine advice. While I get Richard's example he was attempting to make about begging anyone for work, it missed the point. I already have work with plenty of little productions. This post was about how change the way people view me with the big network shows I also work on. I appreciate the advice of having my skills ready for when the opportunity presents itself where I can show them what I can do. I'll stay persistent and keep working to show what I can do.
  2. Over the last 5 years years I've been cam op'ing on low budget docu-reality shows and Ac/utility on higher end reality. I've been pushing to operate on the bigger projects but have been met with reluctance. It's tough changing how people view you. I have a lot of camera and lighting experience and have even occasionally had to teach the people I assist how to light an interview. I've paid my dues, gotten plenty of experience and am ready to make a name for myself. My question is about how to make the jump successfully. I know I have the technical skills down. Selling myself as an DP/op
  3. Who elese has been dealing with the issue of classification by productions on union jobs for the data management? This has been an issue for me on certain projects. I get that producers will always try to be cheap save money, that's their job. Local 600 hasn't clearly defined the difference and roles for each clasiffication enough and that gives them loopholes to exploit. I'm union as a loader. On many digital jobs I'm digital loader basically media managing and assisting the department as a loader always has (chariging, running gear, video village, rental, inventory, etc). Some show
  4. Lacie has an eSata hub. There are several companies in addition to Sonnet who you mentioned, that are coming out with thunderbolt docks to offer many more ports of varing types.
  5. I worked at a rental house years ago and learned a lot, even thoough I got little to no time hands on with gear because I was an agent taking orders. Still, it was great and very valuable training on how to compile and prep a complete order. A few people I've worked for have told me that they valued that I have the rental house experience. I got one job merely because of that experience. The last AC they had said he knew about equipment but did a poor job checking it out so they ran into problems when on set. I have made very few connections directly from working there. I only wor
  6. I recently worked on a reality show and my shooting was criticized for lack of quality coverage (however the director was not very helpful in telling me exactly how I need to improve). I already understand the concepts of getting masters, wide mediums and tights, but apparently I'm not putting it together right when shooting on the fly. The vast majority of the time it was 2 cameras shooting and I shot by coordinating with the other op to get coverage from different angles for conversations, however often we had 3-4 people to be covered by 2 cams, so sticking to one person each was not
  7. Can some list the full phonetic alphabet that is most commonly used in film slating. Im aware there can be many variations. I have typically used thr military version (alpha bravo charlie delta) but have noticed many film people think Im making it up out, when it has just never been an issue before. Since it is one now, I figure i ought to learn at one of the morr tradituonal ones foe the industry.
  8. How did you cut the slots? Is there is a specific tool or technique used?
  9. We've been shooting a few days a week now and I'm getting better and more comfortable but I'm still noticing my camera work is a lot more shaky than it should be for a full-size, shoulder-mounted camera. I've had to shoot for 1-2 hours in a static position where I'm a human tripod, not moving except for framing from wide to tight. I find it much more fatiguing to not be able to take a step without causing shakiness. I'm trying to breath through my stomach, not my chest, but still I seem to see my breathing effect the steadiness of my shots. Is there something different I should be doing
  10. I've just been given a great opportunity to be a camera operator for a new TV show. I have not done handheld on real, full-size ENG cameras in about 4 years, and even that was merely short 1-2 hours a day for my college. It's going to be almost 100% handheld because it's documentary. Even most interviews I'm told will be OTFs handheld. I'm worried because after an easy day of test shoots, my shoulder is killing me. At one point I even got dizzy because the camera was weighing down too much toward the inside of my neck. I have very narrow, thin and bony shoulders so I bought a should
  11. Daniel, Your response is more apt that you could have ever know because it was actually a female grip that had called for the beaverboard in this particular case. The DP was probably overly cautious because of her, but since she's the one who used the term, she didn't have a problem with it. I don't get some of the "old timers" out there that can't just act normally and have normal expectations with women working. Actresses and similar types maybe the more sensitive, but grips are grips. Female grips wouldn't still be grips if they had a problem with it. I've heard what has been
  12. I was told on set today that we are not allowed to say beaver board any more because of the negtive origins of the term. The DP wouldn't explain what those origin are and I have to say I have no idea what the origin is ( I do know WHAT I is though). Now I'm really really curious to know. I'm aware that many terms were once derogatory, like best boy, but that is no longer the case for most, at least in my experienc and that is far from my intention here. I'm just looking to learn and understand what the problem with it is.
  13. Can anyone recommend some good companies that I can look into for buying insurance on my own equipment? I need something that will cover lost, stolen, and accidental damage.
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