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michael best

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  1. It might be too much for what you need but Fisher does make "ice wheels" for there fisher dolly's. I have used them when I was doing a show back east and we where on ice. As for how we pushed the dolly we found some boots for glacer climbing that had small rubber knobs on them that gave us a pretty good grip on the ice.
  2. if your in an office odds say there are ceiling titles so you can try these clamps http://www.filmtools.com/matscisclamw.html. aka scissor clips they can hold a par can with no problem. Then other option is to remove the ceiling titles and see whats above. lots of times there are cross beams or places to mount lights.
  3. Chader camera or video fax are your best bets there are a few other smaller houses but those are the big ones. also try www.reeldirectory.com its a Sf based industry guide/listing
  4. I used to use excel However I found a program called PAID for both mac and PC it has some nice features that apply to the film/tv world. And it can be set to tell you when invoices are 30,45,and 60 days past due. I also keep and old fashioned paper calendar with job names and on it and a google calendar via my phone/computer
  5. You have a lot of Legal options... If you worked in the state of California no matter what you signed as a film tech you are an employee. As such they are required by law to pay you at the time of your termination. (aka when you are laid off due to the job ending.) We normally give producers 2 weeks on a time card job and 30 days on an invoice. What lawyers have had me do in the past for non paying employers is at 30 days send a friendly notice saying something to the effect of just a friendly reminders that I have not been paid, if there has been a problem with my time card/invoice pl
  6. If you can only have 3 rolls of diff. I would go Opal, 250, 216. I know with a 1 ton space is a huge issue, but having 1/8, 1/4, 1/2, and full + and - green is a good idea. If you can find away also have Hampshire and 251 to the list 129 is great but in a 1 ton you tend not to have many big lights so it won’t be used that often. Also you may want to invest in 1/4, 1/2, and full grid as well, but on the west coast most camera men use the white diff over grid. Heat shield is a good thing to own. Soft Silver Flex, Thin Silver/Thin Gold, and Rosco Scrim are huge money makers when used... Jo
  7. That looks like the arm made by a company called autofuss. Its a San Francisco based company that was started by some former ILM people.
  8. Just had to deal with something similar to this today, it was an Image 80 but it weights about the same as a parabeam. The room was about 30x35 so wall spreaders where ruled out. We used the Max arm and it was perfect. If we had not had one of those on the truck we probably would have done goal posts with truss makers or a steel pipe, and asked the art department to help hide the stands if they edged frame. Hope this helps.
  9. A tool belt is a very personal thing. I have yet to meet two people with there belts set up the same way. This is what I keep on mine for the most part. However I do add and remove things depending on the job and what the job needs. A Lindcraft “gaffer” pouch – I like this one because the flap folds down when you open it so you have easy access to your tools but you can close it should you be working around cars, or climbing scaffolding. I wear a Husky padded belt. From right to left with a too, pouch, tape loop with a ½ roll or less of photo black paper tape, and a very small
  10. Freyer Light 510-835-5800 Lighting by Steinheimer 415-672-4658 and DTC 510-595-0770 all 3 should be able to help you. Mike
  11. I have to agree with Matthew, If you have not been trained you probably should not try and build one. when we put a 20x on a condor we are pushing the limits of what they are designed to handle. The CSATF class cover a lot of what we can and can't do with condors, and more importantly covers which condors we can and can't use. The best advice I can give you is to hire a Best Boy who has taken the proper training and ask him to build them for you or have a grip who has been trained come out and build them the days when you need them. I know this is probably not what you want to hear, but it
  12. Without seeing a location I would say tent the windows from the outside and bounce your light in. But some places are ahrd to tent so you may want to talk to your key grip and see what he thinks.
  13. Its a motion control/ remote dolly, so the 2 grips the trained to set it up and handle all the software issues/needs. http://www.hotheads.tv/furio.html
  14. Tape is probably the fastest way to put the china ball up. But if you think the ball might need to move around a bit or that the 1 china ball might become a chine ball and oh wait can we add a pepper oh and a inkie you might want to make a goal post. all you need is 2 stands (3 riser combo, high roller, or mombo depending on how high you want to go and if you want it easy to move around.) a piece of 1 1/2" or 1 1/4" speed rail that will span the room, and 2 ears or big ben clamps to mount the speed rail to the stands. Then uses some #2 grip clips along the top so you can use the V to
  15. A lot of the motion control cranes/dollies are used for effects shots or plate shots so sync sound is not super important. However some cranes/dollies are better for sync sound then other. However if you are doing any moves that require fast movments to sudden stops you will hear the gears and or the worm drive. I think its Pacific Motion Control that does motion control dollies and cranes that are fairly quiet.
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