Dirk Naves

Thanks for the replies, guys! fyi, we were using 32-wheel Willy Wheels. i checked out the porta-glide set. it looks like a brilliant design, but i can't find any weight specs. Has anyone used them with a really heavy dolly like the fisher 10?

hey guys, just completed a recent shoot with fisher 10 on some centipede track adaptors (don't actually know if they were Matthews brand) on round track. we had the camera op and 1st AC on board. If the dolly sat for a while it developed flat spots in the wheels that need ironed out before the shot started. however, these developed after as short a period as 30 seconds. In shots where a move began after a period of time, we had terrible bumps. One of the crew suggested that the camera package was too light and thus too sensitive to the bumps, but I felt them in my body so distinctly that I doubt that was the case. Has anyone else faced these challenges or found solutions to them? thanks in advance!

great! thanks guys!

Hi everyone, I'm currently trying to fit an upcoming shoot into it's budget and looking for places to save some money. Does anyone have any experience with a 1st AC pulling focus while the camera is on a tripod/doorway dolly? Or is a real dolly with a seat for the 1st AC an absolute necessity? Thanks a lot!

Hi everyone, I'm currently trying to fit an upcoming shoot into it's budget and looking for places to save some money. Does anyone have any experience with a 1st AC pulling focus while the camera is on a tripod/doorway dolly? Or is a real dolly with a seat for the 1st AC an absolute necessity? Thanks a lot!

probably a total n00b question, but just wondering what this refers to. in a recent article in AC, this setup is mentioned: "a combination of backlight and skip bounce." I'm not familiar with the term "skip bounce." could anyone help me out with a description of this type of lighting? thanks a lot.

depending on your lighting scheme and how much of a perfectionist you are, you might want to consider rotating your talent rather than your camera. that way, you can just set up the greenscreen opposite your talent, and when he rotates on the spot, the illusion will be that the camera is rotating around him. this won't work with a full-body shot. nor will the lighting be perfect (unless you rotate that too). this is not the ideal way to get the shot, but it is a possible and very cost-efficient way to get close to it. just an option to keep in mind.