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  1. 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 s
  2. 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
  3. 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.
  4. 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
  5. 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
  6. 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
  7. 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
  8. 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
  9. 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.
  10. 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
  11. 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
  12. 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 lik
  13. 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
  14. 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.
  15. It's a long shot, but i figure I would start one for Cleveland. Anybody from the Cleveland or Ohio area?
  16. 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.
  17. Looking to purchase a 3 to 4 ton Grip truck ready to go with lights.
  18. 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
  19. 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.
  20. 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.
  21. Hi Everyone - I'm putting together a package for a very low budget feature. The production budget is $60k and I want to send production a reasonable camera and G&E package breakdown. Does anyone have a percentage that they think is a reasonable amount to allocate to equipment rental? I don't want to send something that the line-producer will scoff at. Thanks!
  22. MKE Production Rental is a lighting, grip, and camera rental house in Milwaukee, Wisconsin. 710 N Plankinton Ave Suite 300 Milwaukee, WI 53203 (414) 939-3653 http://www.mkeproductionrental.com MKE Production Rental is a one-stop shop for small to medium film and video productions. We rent RED, Blackmagic, Arri, Kino Flo, and more. Google Plus Facebook Twitter LinkedIn Yelp
  23. Boa Solutions Inc. 222 Islington Ave, unit 13 Etobicoke , ON M8V3W7 Open by app't, to suit production schedules, 24/7/365, but generally there 10am-8pm M-F, unless a booking is happening earlier. Website and pricelist going through huge update, and will all be at http://www.boa.solutions . Before that, please contact me for gear availibility / suggestions, and go to http://www.boastudios.com for the studio spaces I rep. Hi, I am Mir Lada, a Lighting Designer / Gaffer / Grip / Production Still Photographer that is owner / operator of this boutique motion and still production equipm
  24. Hello, I'm familiar with some of the great ready-made condenser mics (e.g, Rode) that slide into the flash shoe, and those are great. However, a particular project requires something different and unique for diegetic room sound, so I have a collection of older (some are condenser) microphones (some interesting German mics, PZMs, etc.) I would like to use, while retaining what general lightness and nimbleness of the rig as I can. Does anyone have recommendations for nice XLR Adapters/Portable Recorders intended for DSLR video? The idea being to run one of the following 1)
  25. So, I finally got hold of a Beaulieu 4008 ZM II for a friend's production but despite working perfectly, being pristine, with a crystal clear Schneider Kreuznach 1.8 / 6-66 zoom and even a working rechargeable battery... I DON'T LIKE USING IT! The main problem is that I adore shooting Super 8 handheld and I just don't feel comfortable holding the 4008, as I struggle to get a good grip on the tiny handle. It works like a dream and is nice to operate in many ways but I feel like I'm almost balancing the camera uncomfortably on my hands rather than actually holding it whilst shooting. I know a
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