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Aidan Gray

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About Aidan Gray

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  • Occupation
    1st Assistant Camera
  • Location
    Washington, D.C.
  • My Gear
    Sony FS7

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  1. I'm going to put a disclaimer here that this is just my experience and I'm not certified to give rigging safety information so follow this at your own risk. In my experience, I've had plenty of success with the DBI Sala full body harnesses - they have a large pick point at the back for fall arrest devices which left the front relatively clear of things that would get tangled in the way. They felt very safe and weren't as uncomfortable or cumbersome as I'd expected - they're also not crazy expensive (although no price is too costly when it comes to protecting a life). Not sure if they're availa
  2. Hey so after doing a bit of searching, I found this one on the ARRI Expendables site. It has loops to go around Magliner or Filmtools cart handles. Hopefully this is helpful (:
  3. ...except my Arri Base Camp lasted maybe a year? And I've met several 1sts and Ops who have had the same experience... Since then, I've just been investing in proper widemouth work bags and just replacing as the wear out. $220 is a bit too much to pay for an unreliable product in my opinion.
  4. Hey! The best option would probably be to ask a rental house for a Big Ben clamp and a section of Speedrail. With this setup, you'll unfortunately only get two lights instead of the 4 that Alex likes to use, but thats usually not a problem for Poor Man's process stuff. I would also suggest picking up some ratchet straps and a Menace arm kit so that you can tension the arm and avoid any bowing. I don't know what those lights are exactly, but they look like LED Dedos or similar.... Whilst they might be battery powered, I would try to stick to AC power if you have access to it. Gives you the opti
  5. Hollywood Camera Works makes an app called Shot Designer. If you buy the iPad version, it comes with a code for the desktop version and its possible to sync the two of them to automatically stay up to date. I'm not the most pleased with it, because it feels rather basic and I'm used to things like Vector Works and AutoCAD from my theatrical background, but I think it'll be great for what you're looking for!
  6. I've never gotten a chance to AC with the 702, but a DP I work with just bought one for his Ursa and he's in love. He says its been a while since he's found an on-camera monitor he's been that happy with.
  7. For sodium vapor, I've actually found great success using real sodium vapor lamps. I love them because, much like other pressurized gas lights, they stupidly efficient and I can absolutely bake a room with lights on a single house power circuit (plus they're like $80/head - which makes production happy). Recently on both Black Mass and Spotlight, they employed a lot of sodium vapor lighting - but they just used 400w Sodium floods on condors instead of dealing with other lights. You get really gross looking skin tones and need to be careful about over amping and clipping the red/green channels,
  8. Do you plan for the windows to be in focus? Like Mr. Mullen said, unless you're using hard gels, gelled windows almost always look pretty bad. The best way to do it is with a spray bottle (I do a little bit of soda and water) and a squeegee, but even then you'll see microbumps that will appear like rain unless you have completely clean windows and gels. I would recommend trying to throw the window out of focus and then using something like Rosco 3423 (Cinescrim) behind them. This is much easier to attach to the outside of a window. Ideally, If they're really out of focus, you can try to use so
  9. Totally unhelpful response here, but I read the subject and then saw the Alexa and I laughed way more than I should've.... Best of luck finding an LCD cover! :)
  10. Diamond prop looks amazing! Too enhance that, try coating the inside of a bowl with CDs (broken or whole is up to you). Thye bounce light around in very interesting ways.
  11. Scoops are an awesome recommendation - totally forgot about those! At one of the theatres I used to work at, we had a special 154 with "EXTERMINATE" stenciled on the side.... Good times!
  12. Well the simple way is using focal lengths - choose a longer lens and back the camera up, thus "compressing" the Z-axis of the frame and making the light seem relatively larger. Another good idea would be to find something silver and reflective (like a beauty dish) and fixing it to the front of the light. I did this for a theatrical show where we wanted lights that appeared to be the size of 5K Skypans, but running off of 150w bare tungsten bulbs. We took old clamp lights and wrapped them with sheet metal to create the look of larger sources (because to the eye, all you see if a glowing sphere
  13. I would totally vote for a Dedo DLED4.1 kit! I just used a set of 4 of these on a shoot recently because we were working with mainly daylight balanced units and still needed the ability for small pools of light and/or a lot of controlled fill. They're great for what you're describing as I found the color to be incredibly accurate (and I hate most LED units) and they still work with all the standard Dedo accessories. If you need a very direction spot of light, I would suggest a DLED4 and an 85mm (or possibly 100mm) projector lens attachment. This will give you shutters and an iris, and it also
  14. There are generally sweet spots when shooting cars - these are at corners of the car, where the curvature of the car wraps around the lens. Also, cars are all about what you see in the reflections. Whilst you might not be able to fly a soft overhead light in a parking garage, you can certainly find a way to fly a large bleached muslin that you can shoot lights up into. This is what I've seen done with car shoots on location (mainly in dealerships and showroom floors).
  15. To quote producer Ted Hope: "We cannot logically justify any ticket price whatsoever for a non-event film. There are too many better options at too low a price. Simply getting out of the house or watching something somewhere because that is the only place it is currently available does not justify a ticket price enough. We still think of movies as things people will buy. We have to change our thinking about movies to something that enhances other experiences, and it is that which has monetary value. Film’s power as a community organizing tool extends far beyond its power to sell popco
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