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My Gear


  1. This is my mastershot and I am doing a scene where it is a Support Group and people are going to be seating in circles. I am figuring out a way to have a overhead light like to have 2 kinos above but the problem is how do i rigg it bcoz the sealing is very high. Any equipment that I can use to safely rigg it to have overhead light and make them perfectly lit. Help will be much appreciated
  2. Or are there any tools available for shooting Arriflex SR 16mm handheld, like shoulder rigs, etc?
  3. Hi, We are two technicians working in the film industry in France (a grip guy and a gaffer) and we just discovered this very interesting forum. We particularly noticed that gaffers and cinematographers were asking questions about light output and what aperture is obtained at a certain distance. It happens that with the help of two IT engineers we developed an iOS app responding to this question about 2 years ago. First and for all, we’re not going to post messages everywhere on this forum to sell our app nor are we going to pollute your threads to gain in visibility. We just think some of you might be interested in what we created and since we’re a really small team working on off-time we can’t do any real advertising, so you probably wouldn’t know our app existed. Our app is called Predilux (for pre-diction and lux for light) and predicts the exposure as measured by a light meter, by choosing a light source and a distance. Or inversely predicts the distance to the light source by specifying the exposure. Predilux takes into account: Camera settings (FPS, ISO, Shutter angle) Source settings (Focalisation, Lenses, Grids, Dimmer, CCT, etc) Gels mounted on or close to the source (All ROSCO e-colour+ range) All results have been experimentally verified by us with a light meter in rental houses. For each source setting we made several measurements at different distances and this took a lot of time. So Predilux does not rely on constructor’s data, but on real data reflecting the state of the equipment as found in rental houses. Our data sometimes differs from the constructor’s data. Here is a quasi exhaustive list of the sources measured and included in the Predilux (12/2019) : Tungsten ARRI 150, 300 Plus, 1K Plus, 5K Fresnel, T10, T12, Rubylight (MFL lamps) Briese 77, 100, 140, 180 with lampes ranging from 650 W to 2K Mole Richardson Softlite 1K, MaxiBrut 16 (MFL lamps) Openfaces such as Redhead, Blonde, Desisti Renoir 5kW and LTM Cyclight 2K ETC Source 4, Dedolight, Zaplight, CMC 20K, etc. HMI ARRI AS 575, 1200, 4K, 6K, 12K, Arri M18, M40, M90, ArriMAX 12K & 18K K5600 JokerBug 200, 400, 800, Alpha 1600, 4K, 9K, 18K AFM 575, 1200, LTM Cinepar 2.5K Fluorescent KinoFlo 2ft, 4ft & 6ft LED ARRI S30, S60, S120, S360 KinoFlo Celeb 200, 250, 400, 450, 850 DMG SL1, SL1 mini, SL1 Switch, MaxiSwitch Mole Richardson Tweenie, Senior, Tener Aladdin Biflex 1x1, 1x2, Flexlite 1x4, 350 Dedolight bi90, Cineroid LMD400, Velvet V1 Balloon Airstar Gaffair 1200, Elipse 4000, PAD 9ft x 9ft, Tube 16K If any of the administrators of this forum wish to try out our app, we would be happy to give them one or several free life-time activation codes. For all the other users, our app is available on the Apple Store (). An Android release is planned. If you have questions or requests, don’t hesitate to contact us at this address predilux@wid.la Thanks for reading this post and we hope you thought it was interesting, Georges Harnack for the Predilux Team
  4. Dolly track for sale- Grip Factory Munich stainless steel and aluminum construction. 9 x 2.3 lengths, plus one 30cm and one 90 cm. Excellent condition, no bumps or dings. Surplus to requirements these days and I'm based in EUROPE. Looking for 400 euros per length sold individually or 3000 euro as a complete lot.
  5. Hi, I'm a 2nd year AFI Cine fellow, and I'm shooting my thesis Nov 30th to Dec 4th. I'm looking for an experienced 1st AC. I'm not expecting someone with years of experience, but must have some experience as the film have some challenges. The overall film is pretty dark, and there will be lots of handheld movements in parts of the film. Ideally, I would need someone for the whole period, but more importantly Nov 30th and Dec 1st is more crucial. I'm also looking for a grip for the entire period + one day of pre-lighting on Tuesday Nov 29th (NoHo soundstage). We will be 1 day at the soundstage, 2 days at a car wash in Glendale (only exterior) and 2 days in Cieniga (mostly interior). It's 10h days + 1h lunch. And we will be shooting evening/night for 4 days and 1 day from around 9am - 8pm. Unfortunately this is not a paid job as it is a student film. Contact me if your are interested or have any questions. Instagram: dp_leobehrens email: lbehrens@afi.edu Text me: 213 588 5591 ______________________________________________________________ The film is a heist film. Two brothers are robbing a car wash. The main character is in a toxic (family) relationship with his older brother, and is trying to escape him at the end of the film. The older brother gets caught by the cops, while he gets away.
  6. Could someone tell me? As I'm struggling to find a purpose for smaller reach technocranes like the 30 and 15 as while yes they are smaller than something like the 50, they're not small and still seem to require a good amount of crew and space unless I'm wrong and the size and weight differences actually do make a difference, I just thought that since they're built to carry similar payloads they'd have to be of a certain size anyways.
  7. Complete used portable 60amp AC Power Generator/Distribution Package. System originally purchased from Screenlight & Grip, Watertown, MA. 60 amps of 120v AC power is available where ever you want it up to 300 feet away from the generator. Can be expanded with more splitters and receptacle boxes. Entire system can fit in a pickup, van or on small trailer. More photos available on request. Package contents: 1 - Honda EU6500is Inverter Generator (used) in Excellent Condition. 1 - 60A Full Power Stepdown Transformer/Distro w/dolly. Takes 250v/30amp generator output & converts to 125v/60amp AC. Transformer upgrade allows voltage boost up to 10% for long cable runs. 3 direct 120v/20amp outlets installed on transformer. 2 - 250 volt adapter cables for connection of Generator or any 250v home power receptacle to stepdown transformer. 1 - 100' 250V 30A Twist-lock Extension cable. 2 - 50' 250V 30A Twist-lock Extension cable. 2 - 50' 6/3 60amp GPC Extension cable. 2 - 60amp GPC Male to 2x Female power splitter. 1 - 60amp Snack Box (Box w/6x 120v AC receptacles, w/Circuit Breakers). 1 - 20amp Snack Box (Box w/4x 120v AC receptacles, w/Circuit Breaker). Bins for all cables, whips and boxes included. Will NOT split package: if you don't want it all don't reply. $4,800 or best offer + shipping and PayPal fees. Low ballers ignored. You can pickup or will need to ship palletized as LTL freight from Beaumont, Tx. Can palletize and strap load.
  8. I work on an unscripted show where we primarily shoot exterior interviews but occasionally will move inside and use a window as our background when the weather is bad. I’d like to be able to ND the window to reduce the amount of light needed on talent and am thinking of having a couple of wood frames built out of 1x3 strips of lumber so we could quickly drop in different levels of ND. Being that the window is only a couple feet behind talent (out of focus but barely), is this a good approach or would we see lots of reflections, etc.? We don’t have time to apply the gel directly to the window as the light changes frequently, and don’t have the budget to get hard NDs. I think a large net would be too close and in-focus to disappear completely. We also can’t drop a polarizer for the camera to mitigate reflections because talent always wears sunglasses. The window is always shaded, however, so we’ve had no reflection issues with the glass itself.
  9. OP is the question, although I also am wondering if these drop ceilings in the attached picture work with scissor clamps? I can't tell if the gap/space down the line is just cosmetic or functional, and these pictures are being sent to me.
  10. FJS International is brokering a sale of a large inventory from a European rental company. You can buy items individually. See complete list here: https://fjsinternational.com/fjsaprilinventorysale.html
  11. Harris-Chewning, Inc. is a production rental company in North Carolina with many years of service and dependability. We rent LED, Kinoflo, HMI and tungsten Lighting. Grip trucks from 1 ton to 4 ton. Cameras and support gear: Arri, Sony cameras, Alura, Zeiss lenses, monitors, etc. Harris-Chewning, Inc. 148 Stancell Drive Chapel Hill, NC 27516 919 942-7997 http://www.harris-chewning.com
  12. Hey all, I'm fairly new to grip work so I'm a bit stumped by this. So I'll be shooting this scene involving 3 subjects, all of which are situated behind a table with a black backdrop behind all of them to act as a background. It's just going to be the one wide shot, so the camera will be positioned dead centre in the middle of all of them. I've attached a photo complete with my expert illustration skills showing the placement of the subjects in the scene. So I'm looking for a lighting solution that can efficiently light all of them using as few lights as possible. The overall look will be fairly high-key, with a light on the backdrop so it won't look like a black hole behind them. My existing kit consists on 2x Nanguang Luxpad43 LED Panels, and I have the go-ahead to rent any additional lights I need (within reasonable cost, of course) I'm torn between two possible setups: 1. A large diffused soft key in the centre that casts on all the subjects, with one light at camera right near the backdrop to act as fill for Subject 1 and backlight for Subjects 2 and 3, and one light at camera left near the backdrop to act as fill for Subjects 2 and 3 and backlight for Subject 1. Finally, 1 additional light for the backdrop as described earlier. This is the cheaper solution; I'm guessing the centre key will eliminate the need for a backdrop light but I will have other scenes that make use of the backdrop light so I'm just thinking about continuity here. 2. Similar to above, but with 1 diffused key light at camera left for Subjects 2 and 3, and 1 diffused key light at camera right for Subject 1. The fill/back lights stay the same as with the above option, together with an additional light for the backdrop. This is the more expensive option, but I'm worried about the spill from the key lights onto the backdrop as the backdrop will be situated fairly close to the subjects. That and they might mess with the lighting from the backdrop light too. The obvious solution would be to get LED Panels with built-in barndoors; I'm just wondering if this would be the more reasonable route to take. The kit I'm looking to rent is a set of 3 Coolcam 1' x 1' Bi-Color LED Panels with barndoors, failing which I might get a set of 3 Litepanel Caliber 150W LED Fresnels or Aputure LS-mini20s. I might have the luxury of additional stands and flags but I'm trying to keep the set-up lean, and I'm already running on a tight budget as it is. Also, I'm a one-man Cam Op/Grip/Director/Producer with no extra pair of hands available (ridiculous I know). Any help would be appreciated!
  13. Hey there, Currently looking for a solution to rigging a 2K above a large set inside of an industrial coolroom. We did this the other day in a way that I would like to avoid doing again due to its stability. Old Solution: C-Stand with cartalini gripping another C-Stand shaft at full length. Light at the end of that arm, Everything was shifted back by roughly 15 degrees and added 75kg of shot bags to the other end for counterbalance. Once raised, it was panned across and then ratchet tied to scaffold that was inside the coolroom. Rough Floorplan: https://imgur.com/a/zPrlZHq We were/are limited to a few things right now; * Stands - C Stands are our best stands as of right now. I have the option to hire out another that is more suited, this is what I'm mainly looking for right now, but the footprint of larger stands don't fit inside the area we have. * Can't light from the inside of the room - a lot of it is handheld and wide angle that covers the majority of the room. * Flats can't be moved ( weight of the set pieces inside) *Flats start at 2.4m at the door and end at 3.2m behind the bed. * Roof of set is completely defused. I'm primarily looking for a better stand to help raise and reach that will be more stable than the c-stands with all the weight that was on it. Thank you! Jayden
  14. Hi guys, I've been given the task to shoot a music video. The director wanted to be to create a lighting set up similar to the picture below. It's very low budget, so I have 3 kino flows and one Arri 2k. I wanted to know what will be the best way to avoid spill when using the kino flow to light the subject? Thank you for reading Christopher
  15. Well, after four years of valiantly fighting it, I've given in, accepted my fate, and become a Vanman: And she's a blank canvas: I now have to begin the process of figuring out how I'm going to fit her out to cart around all of my crap. First big question for the layout will be - my new Inovativ cart, should I plan to wheel it in through the side doors? Or out the back? And if you've got a nice van fitout that you'd care to share, I'd certainly appreciate any good ideas for shelving/storage solutions that I can steal.
  16. Hi lighting experts! Thanks for always being so generous with your knowledge and experience on this forum and I've learnt so much from all of you. I have a shoot coming up for which I would like to get your help in reviewing my lighting plan. The concept is to have atheletes in motion against an infinite black background as in the first couple attached images (IMG 7502 and IMG 7504) I've only ever done infinite black shoots in a blackout studio but due to production constraints this will have to be done on location - a multi sports hall and a air rifle range (IMG 7500 is the hall, I couldn't upload the image of the range but it will be windowless so that's easier for me) The athlete in the hall will be a table tennis player and as you can see, while the hall is fairly large, there are windows above head all around and the shoot will have to be done during day time. My plan to combat this is to shoot from one corner of the hall and have 3 black background drapes (those typically used in photo shoots) form a cove around the subject. I was then planning to boom a 4' Kino Tegra (any practical ideas how to do this? We don't have access to a proper c boom) slightly behind the subject and bounce light back into the subject using a polyform core placed below camera or on the table where the shot size allows. I'm also looking to accent the subject with some colored backlights and was thinking of another Tegra back left/right with Lee steel blue / bright pink, flagging off spill using 2 floppies and/or the honeycomb. Do you guys think this would work or do you have any suggestions on better ways to approach this situation? Thanks so much as always!
  17. If you were looking for grips or an AC and I sent you a resume would you be more interested in: 1) a list of numerous projects Ive worked on UNDER the respective title - So I'd just list project names I've worked on, the more specific role I did, and the year - example: Grip & Electric: - Key Grip, "Project Name" Year My concern about this way is even if I have a good handful of projects I've worked on and the roles I've done, someone I'm sending it to might look at this and say "so what? I haven't even heard of that project?" and that it's not substantial enough or 2) a list of the responsibilities and experience of equipment and such I HAVE under that respective title instead? -example: Assistant Camera: - "Title" - 1st AC- responsibilities; equipment worked on Which of these would be better to go with? I originally went with the first one and then had a separate section down below listing the equipment I've worked with. Also my other question is, If I don't have a substantial list of either category "Assistant Camera" or "Grip" but have a lot of experience, should I still put them on separate resumes even though they'd be shorter (for now)? I've always been told not to put Assistant Camera and Grip on same resume Thoughts?
  18. Hey Guys, This is my first post so forgive me if my format is incorrect or if I am missing information. My name is Chris and I’ve been working in film for a few years now. I started of by volunteering my time to a local production house here in Kansas and eventually I was able to turn that into profit. Being in the industry for the amount of time that i have been I have learned that the game is supposed to be sold and not told. I understand this however, I am doing my best to continue the learning process. being in a smaller market the gigs tend to reflect as such. To a degree I feel like there is no teacher like experience but where I stand is that I want to be prepared for these experiences. That being said I am considering branching of into different markets to see if there is more official training available. I already understand a lot of the basics like names of equipment, stands, how to operate stands and things of that nature but that is not to say that I’ve come across everything nor do i know each markets terminology for items. My question to you all is do you know of any official training, courses, seminars, or workshops being offered that I may be able to attend? Book recommendations would be appreciated as well. I would be interested in learning things like rigging, dolly operation, and most importantly safety. I do live in Kansas but I am willing to travel anywhere to help advance my career. Thanks! -Chris P.S. I understand the thought of working up under people and soaking up what they have to offer (thats what I have been doing). My problem with this is that people will only tell you either what they want you to know or what you need to know to get the job done.
  19. hi i am about to shoot commercial on roller-coaster (it doesn't have 360) and she is going 40KH i want to shoot 2 persons every time thinking about alexa mini or sony f55 (global shutter) and to rig it with SACHTLER MAXIMA but afraid it wont work..... my plan B is a poor man stabilizer and to put the camera on car tire any advice will be great thanks ram
  20. Hammer Lighting & Grip 7505 Crews Drive Indianapolis, IN 46226 Phone 1: 317-547-4747 Phone 2: 877-544-4747 Email: info@hammergrip.tv Website: http://hammergrip.tv/ Info: Specializing in grip and lighting rentals, including camera support and grip truck packages including 1, 3, 4, and 5-ton. Excellent customer service, the owner Derek Hammer, is a great resource and friendly guy. All the employees are top notch and helpful.
  21. It's a long shot, but i figure I would start one for Cleveland. Anybody from the Cleveland or Ohio area?
  22. Looking to purchase a 3 to 4 ton Grip truck ready to go with lights.
  23. I've been making my own carts for years, and here's my take on the muscle cart. In the NorthEast it rains and snows, and to give sandbags, cable, apple boxes etc a chance to drip dry a little, I started making these with expanded metal. Brakes that are super easy to operate and that hold when loaded. No flat tires with large 12" tall tires in back. 4 available at $575 ea. These make sense if you are in the NYC Metro area. Don't know about shipping. Pls email me direct: karlkimdp@gmail.com
  24. Hello, I wasn't able to find any posts on the topic with a keyword search so I figured I'd start one. I am currently looking into picking up some c-stands and combo stands and wanted to get the opinion of someone with first hand experience using the Norms Studio Equipment brand. I have used other brands of c-stands and combo stands but I don't believe I've ever used Norms. Seeing as some brands are more reliable than others my question is how is the quality of this brand? Are they reliable or should I look go another direction? Any help is greatly appreciated.
  25. Hey guys, I'm a new member here but I've been reading thread for a while. I just launched/created a product to help mount LEDs, Microphones, anything with a hot shoe mount. I call it the "JClamp". You can check it out here: http://jclamps.com Let me know what you think. Thanks.
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