ian henderson

sorry, its a 28-76. typo!

Im selling my PL-Mount Angenieux Optimo 28-76 zoom lens. It has been recently inspected by Panavision, and comes with a Master Case, zoom gear (not motor), zoom bracket, 2 zoom bats, and the manual. Asking $38,000 Located in Los Angeles

i just thought it'd be fun to hear all the crafty stuff (not stuff from crafty) you guys keep in your marks bags. go!

hey thanks for all of the good advice. i work at the Motion Picture Institue of Michigan as an equipment tech, so I end up working on a lot of student projects when im not booked on a job. on the student stuff ill usually move up and pull focus, a bunch of it has been on red so its nice to have the depth of field of 35. as far as finding work outside of detroit, im not in a huge rush to get out of here, but i do get a lot of down time right now cause im still a little ways down the seniority list, and i feel like im just wasting time. that, and i realy would like to travel. and being still somewhat new, i dont know many assistants outside of this area, and ive never realy had any luck with just mailing in my resume to productions. any good networking tips?

hey guys, im pretty new here, so i figure ill introduce myself first. my name is Ian Henderson, im a Local 600 Loader based in Detroit, and ive done a bit of work as a second as well. ive been working music videos, commercials, and ive day played on some larger features. i was wondering if anyone has any recommendations on things i could be doing in my off time to become a better assistant? or if anyone has any tips on branching out and finding work outside of my local area. thanks alot, Ian Henderson

So I filled in on a feature the other day that has two big actors in it. Im usually a loader, but i got brought on as a second, and i hadnt worked as a second with actors that big before. The whole day we were shooting in a small office where they were sitting at a desk talking to each other. I was on b-camera, and we were on a tight lens most of the day. Using a sync slate. When i got there, they made sure to tell me not to put the slate in the actors face, which i normally wouldnt do anyway, but this was a real tight situation. We ended up doing alot of tail slates, but sometimes i couldnt get in there after the shot due to it being so tight. I've always been tought to mark it, and get the hell out of there and to never cross frame or the actors eyeline after marking. So my question is: is it alright to go deeper into the scene to mark it and take a little longer getting out of there even if i have to cross frame (and the actors eyeline)?

i always just end up holding the slate upside down when writing on it so the front doesnt get wet, and i keep a towel in my back pocket to erase/dry off the slate each time, and make sure the marker doesnt get wet.