Sam Bignell

Hey Yall!

I'd love to grab a couple of classic Milk Crates like you have in the states but in the UK Milk crates of that type are simply not findable online and the only place I've found them they cost like £30 for just a crate and there 19" long they are massive

Other than useful boxes, what other techniques have y'all used to store gripping equipment? Would love to know idea!

Thanks

-Samuel

On 3/4/2020 at 12:20 AM, Bruce Greene said:

You could go the Home Depot and buy metal screen material and cut your own. Bring a light meter to the store and measure the light loss when choosing.

I’ve done this on distant location once when no scrims arrived with the lights. ?

I thought of this but thopught it wouln't be accuraye enough but i'lll defo give that a go tonight!

On 3/4/2020 at 9:27 AM, Tom McGrath said:

Hi Sam,

The 270 & 275 scrims are more made for cutting intensity in windows--they are not terribly heat resistant.

Metal screening is not easy to find in the UK, compared to the states, so don't try B&Q.

Go for a heat resistant ND gel instead---298 (half stop), 209 (1-stop), 210 (2-stop), 211 (3-stop) or 299 (4-stop).

 

hope that help.

Tell me about it, It's like everything film is Ilegal here haha! I'll check anyway otherwise ND it is!

On 3/5/2020 at 12:14 AM, JD Hartman said:

Does these lights have accessory ears? Determine the inside measurement and hunt FleaBay for scrims that fit.

I'll have a look around hoping to find something if not ill use ND!

Thanks Everyone!

Hey All!

I'm looking to get some scrims to cut down tungsten lights (300w, 650w, 800w, 2k,)

Sadly not all my lights are Official lights with hard metal mesh scrims to buy for and fit, So I'm curious if Rosco's 270 & 275 would handle and survive the heat of atleast a 800w open face inbetween the barn doors? or maybe even a 2k but I doubt they are even clsoe to stronger enough

If not what are good alternatives for scrimming lights half a stop and a whole stop if I can't fit metal mesh scrims?

Thanks!

-Samuel

Hey Everyone thanks for all this! Really Apreciate it!

Hey Everyone!

I have quite a good assortment of gels from party to technical etc etc

When people rent or when I'm on  a job that requires one the gels to be Cut or modified how do you go about charging for the usage of that Gel? Especially when it's being rented and being cut up from it's good size?

Most my gels are precut "Sheets" from Stage Depot for like £7, Is it ok to charge for a new "sheet" of the used gel?

Thanks!!

-Samuel

Good info, thanks Sam.

 

I've had jobs where UTR is enough and others that can't do anything without a Lorimer. Some accountancy depts can get mighty arsey about it too.

Hopefully this new system will simplify everything.

Hopefully, it will be simplified indeed, Thanks Chris!

I have a letter of Authority from HMRC film and TV devision (Current schedule D for the industry) - Provided you can show you've worked on several different productions over the last year they will likely authorise you.

 

I got mine at the beginning of this year and I've been on a few PAYE jobs where I was payed as a freelancer no problem.

 

It's probably the easiest option overall, if they accept you.

Hello Chris Steel

Thanks for this, I've been in contact with HMRC film and TV division and they assured me the Letter of authority (Lorimer Letter) wasn't going to be a viable option soon for the future because it's now all done through the Employment status: Self-employed and contractor - GOV.UK but was told by another AC friend that my UTR number is usually enough for productions to accept me as a freelancer.

Whether this turns out to be good enough for all production beyond the seven-day rule, that will be left to be seen in negotiation.

But whatever the reason is for me being paid under PAYE (which I don't prefer) it doesn't really mean anything just more headache for the production company.

Thanks Chris

Thanks so very much for the responses! Definitely happy that I'm on the right tracks.

I know of people who have done the Lorimer letter and had it accepted, and also some who were refused. It was less of an issue when I was an AC, but the way I did it was to have my accountant classify me as Schedule D self employed Cameraman. Once you have that schedule D number, you should be golden.

 

*disclaimer* It has been many years since I was an AC, things may have changed.

I believe schedule D has been replaced with the UTR number but the UTR number doesn't quite cut it.

Thanks, Stuart!

Sorry also way back fro me too.. and I was an AC when the revenue went after the TV /film industry in the 80,s and made AC,s be PAYE.. the then way around it was you had to supply gear to be seen as not PAYE employee .. so we all bought tripod heads/legs or Mattbox,s or filter kits.. maybe that still applies

 

The only goods thing was it also forced a lot of AC,s.. me included.. to hurry up and move up a being camera persons..

Supplying gear seems a good way around things and is something I'm doing often. I don't think my monitors and focus units is enough (have to read up on it) but I often supply more than the usual camera kit.

 

I'm not in the industry but I have always been self-employed, so maybe this will help a bit.

You need to register as self-employed and pay NI as such. Self-employment is a matter of fact, not forms. You know from the test that if you work on different productions throughout the year, even for weeks at a time, provide at least some of your own kit and risk your own money, you're self-employed. The problem is convincing some of the outfits you work for to accept that status, because they don't want to run the risk of penalties if they don't deduct PAYE when they should. So they tend to want to treat you as an employee.

Of course it's perfectly possible to be both. You may have to accept that some companies will want to deal with you under PAYE, while others do not. Your overall tax liability may not be all that different. If you find it's affecting your turnover you may have to adjust your day rate accordingly.

Incidentally as you know from the test, being paid by the day is one of the indicators of self-employment. So look the part- send out your invoices on a proper letterhead, and look and behave like the small business you are.

I don't think there's much advantage in a one-man-band being a limited company.

 

Thanks for all this!!!

Your best bet is actually forking out a bit of cash and speaking to an accountant who is a specialist in TV /film.. ask any of the sound recordists .. they will know one for sure.. or even know all the details.. :)

Seems like a good option!!

Thanks Everyone!

Hello Everyone!

I feel like I'm in the wrong thread but thought I'd give it ago.

The following post is in no way exciting btw but I am in need of help!

So I finished a job recently as a 1st Assistant Camera and was introduced (Vaguely) to Inland Revenue and the PAYE scheme and how as an Assistant Camera on a Multi-Day production (7 Day Rule) I should be paid on the PAYE Scheme (EU/UK)

Meaning from my understanding as a Assistant Camera 1st or 2nd I'm not classified as a HOD (Head Of Department) because I'm of an "Assistant" role I.E not the big boys like the DOP, Key Grip, Camera OP etc I'm therefore not classified as a Self-Employed person or crew so I have to be paid normally under the PAYE Scheme (Pay as you earn) so my TAX/NI will be deducted for me like a normal job as an employee at Tescos for example.

So I had a bit of a fright that even though we had a deal for X amount of money per day there is some risk that a big sum could have been cut for National Insurance and Tax.

Now although this wasn't the case this time because I was classified on my invoice as a "Camerapersons" with Substantial provision of materials/equipment that I also provided to some level to do my job (Not basic tools for the trade) this makes me fall under a HOD so I am a Self-employed person responsible for doing my own TAX/NI.. how I like it.

So with all that said there is still lots of uncertainty, I have in trying to understand it better and to avoid having this bite me in the butt in the future.

So if anyone knows what I'm talking about at all! and if any of what I've said so far is correct here are be questions!

Questions

I'm self-employed as a camera assistant legally from my understanding I fall into the correct category from the "am I self-employed" gov.uk test and therefore I don't want to be paid under PAYE from production. I really wanna be paid in full and be responsible for my own TAX/NI. So to be paid as a self-employed Assistant Camera can I

1. Be under the camerapersons grade legally

2. Get an LP10 letter (Lorimer Letter) to classify me as a Self-Employed Person

3. Be a limited company

4. From you're experience as Producers, Assistant Cameras how do you do this? Or do just work under PAYE and forget about it?

Any help would be great!!!!!!!!

Thanks so much

-Samuel

As a note This Website in the UK sells all types of cable fitted with H07RN-F from the Industry standard 16amp-63Amp CeeForm plugs even to the domestic 13 Amp (;

Thanks everyone for all the replies!

Out of curiosity, how is the jacket marked? Type S or SO cordage (600VAC) will have a jacket that is nearly twice as this as SJ (S junior, 300VAC).

 

No idea, it has SV on the cable, I'm not a gaffer by work but live on camera instead.

extension leads and equipment captive cables is H05RN-F

 

Thanks for that Phil.

we prefer heavier H07RN-F. Titanex brand is popular for both stingers/extension

 

Thanks for that, Yes the cable being used is actually marked as H07RN-F Titanex 1.5G, the "1.5G" meaning 1.5mm Guage I'm guessing.

Overall the H07RN-F seems pretty expensive cable, is it worth changing any extension I buy to the stuff, Is it actually safer to work with over the pretty solid cable It's already got?

A 13 amp cable will be fine to use with your 2kw lamps, which only draw 8.5 amps at 240v, so there is plenty of headroom. It's the thickness of the copper wire that's rated for 13a, not the rubber outer of the cable.

Thanks a bunch for your reply!!

Hello Guys,

Quick question regarding cable thickness over here in the UK

I recently bought a Heavy Duty 13 Amp extension cable "Standard Domestic 3 Pin Edison Plug" or Stinger over there in the US, Despite looking for a Heavy Duty cable it's still not as thick as the cable attached to any of my 2K ARRI Lights nor quite as rubberized or flexible.

Question:

So I'm curious for safety's sake and just pure interest, should normal 13 Amp cable be extra thick if you intend to run 12Amp through it continuously and if so is there a place I can buy thicker more rubberized/Flexible 13 Amp cable that is designed for motion pictures use over here in the UK?

In case your curious the make of the cable I got is the popular amazon 10m Master Plug 1 gang.

Cheers

-Samuel

Haha, well probably not then I just happen to know a guy in the same area as you with an identical first and second name ^_^ urhmm.

Thanks for your response Phil, are you by any chance The Phil Rhodes.

Hello Guys,

I know this has been posted before but I never found a conclusion to it.

I've always learnt that you can't restrike/hot-strike HMI bulbs meaning to turn them off and straight back on without blowing the bulb full-stop.

Every shoot I've ever been on this has never been the case nor even close to a concern from the DP. They restrike the bulb just 30 seconds after it being shut off even when the bulb has been on for 10-15mins or so, it makes a nasty sound from the bulb trying to re-light but other than that it's fine everytime.

So if someone can clarify some questions for me?

1. The term Hot-Strike literally means from striking the bulb when it's HOT HOT, like full temperature hot, then it will blow or not restrike?
2. Does the ballast & bulb actually have a major impact on how safe it is to restrike in reality, not theory.
3. If the top question is true, how long is it best to wait? The higher the wattage = the more heat so the longer the wait?

Cheers Guys, will appreciate this.