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Conor Stalvey

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Everything posted by Conor Stalvey

  1. Check out Light Source, only problem is its fairly expensive if I remember correctly.
  2. As a young recently graduated man, working as a Gaffer on low-budget projects in the Tri-state area (NY,NJ,CT), I have to say this conversation has been interesting. I am that guy Maxim and Phil argue for and I am not a large fan of production, but I cant help but side with Richard here. Believe me guys, I am the first one to "clear my throat" at producers standing infront of me at the monitor on location when I'm trying to light and they are in the way, but they do have their purpose. I have worked for producers that treated the crew like the help and I have worked for producers who treated the crew like Gods. Those bad producers, that don't do anything but seemingly complicate everything. I don't work for them again and yes I have turned down work because of the producers attached. The good producers, the ones that use payroll companies, pay OT, treat the crew well, etc, which Richard appears to be, I work for. Again, and again and again as much as possible. I work my ass off to make sure guys like Richard call me the next time they have a project, because I'm not the guy that puts it all together. I'm the guy that lights it, and just as I have a specific job to do, so do they. I understand your frustration, and please excuse my ignorance about the UK economic system, but do you not have unemployment (thank you for reminding me Rich, I need to file ^_^ )? That is a serious question. I feel that I was adequetly paid for my services, or else I wouldn't have worked. With that pay, I pay bills, save some and spend the rest because I'm young and I like nice things. I don't feel as though I'm being abused or taken advantage of, if I did I would quit. Do you guys not have these options? Are there no unions for those workers who spent 16 hours on set? I've done that more then once williningly and know it can be grueling. I worked for a producer that referred to me and my team as mercs. I laughed and asked why? He said, "you guys are all big and badass, and you come in here light poop up, collect a check and you're out. Hopping from project to project." I thought for a moment, and I had to agree. He was right, as soon as we were finished with that project I had two more lined up immediately after that and I was gone. He will still be attached to that project for months trying to get it sold or distrubuted. I've got my money and I'm working on the next check. My point is, it takes a team to make a movie/film/tv show and this industry, when it's at its' best, can be the perfect example of what Plato describes as the perfect city in his Republic. Everyone has a job to do that they have trained specifically to do. Everyone needs to do their job and only thier job to the best of their abilities. The producer doesnt come over and tell me how to set up a light, and I don't explain to him the ins and outs of tax credits and payroll. He does his job and I do my job. We all get along, make a movie and earn a living in the process. Unless you're friend, I dont work for free. Don't get me started on the people using Mandy to source free labor.
  3. I was always taught and still practice, that the tall leg should be underneath the load and the sandbag placed on that leg.
  4. Thanks Kyle, I was not aware of the numerical values. Learn something new everyday.
  5. The school I attended used these flags and the only bad thing I could say about them is that sometimes the sliding clasps that hold the frame open slip and the frame folds. An easy fix for this is a thin piece of gaff to keep them from sliding, so its a small problem. Also, they can take an extra minute or two to setup. Other then that they are just as good as any other flag.
  6. I find that 4x4 floppy's are invaluable onset. They cane be used for just about anything: cutting lighting, negative fill or even a courtesy flag on sunny exteriors.
  7. As a gaffer, I feel the most important thing is that, the person you build this relationship with, is just as passionate about lighting as you are about your cinematography. Do you mean train them to your style, or do you mean train them to light? If you find some one passionate about lighting, it only takes a couple scenes before we have figured out what you like and start implementing it without you needing to explain. Instead, it will start a dialogue between us, and that is what you really want. Some one you can bounce ideas off of and even ask for their opinion when your not positive about a decision. Lighting is most akin to painting, you want someone passionate.
  8. Don't forget that the Keno 4x4s can be removed from the fixture, and the bulbs and "guts" are light enough to be tapped up on the ceiling with gaff tape. Otherwise, follow Torben's advice, china balls are great lights that I almost always have on set.
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