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  1. 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!
  2. 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
  3. 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 equipment rental house in Etobicoke (west end of Toronto), in one of Toronto's film hubs. Clients come back to me because of my practical and creative problem-solving, advice, and being able to realistically accommodate any budget and any level of filmmaker. Often, after dealing with me for figuring out gear, they will create the opportunity for me to come on board as crew, which then makes things extra easy for them, since I am completely dealing with and taking responsibility for the packing, transport, setup, operation, strike, delivery back, and check-in of the gear to accomplish the look they want. The 4000 sf warehouse space I recently moved has 16' ceilings, 20' wide hallways, adn huge truck docks, is currently still being set up, between shoots and tests, and will be divided half for rental gear storage and half as a technical studio / test facility. That means it has very basic client amenities / creature comforts, but a lot of assets and capability to accomplish a wide range of small to medium shoots at a reasonable price. Perfect for when what is in front of the camera is more important than the style of the facility. Great for music videos, small films, commercials, etc. Standing sets include wall flats, and many installed cloth cycs, including 90' white, 78' chroma green, 60' black, 30; chroma blue, and 8x8 Chromatte system. Power is 200A x 3 phase cam-lok, plus 175A single phase house power. Facility is lit with 1k cyc lights and features a 17x10 overhead lightbox with 10k tungsten and 5k daylight output. I also have a 1 ton van for location work, as well as a good truck rental service nearby, where I can roll in all my mobile carts, shelves, etc to create an up to 5 ton lighting and grip truck solution for location work. I also rep a 1750 sf studio right above me, owned by a DP, with a 30'x 10' hard cyc. Spaces can be combined for same production. Lighting includes, with often multiples on-hand (over 500 lighting fixtures): Arri L7-C Arri Locaster 1x1 LED's Mole Biax KinoFlo 12k fresnel HMI 6k fresnel HMI 4k fresnel HMI 2.5k fresnel HMI 1.2k fresnel HMI 575w fresnel HMI 200w fresnel HMI 6/12k PAR 4k PAR 2.5k PAR 1.2k PAR 800w PAR 575w PAR 400w PAR 200w PAR 1.2k Profoto bare bulb 1.2k soft 575w flood 270w sungun 200w sungun Of course, hundreds of tungsten fixtures from 100w to 10k, including 6K Barger Baglite, 10' Jumbrella. I also carry a wide variety of practical bulbs, stringers, non-LED christmas lights, etc. Grip up to 20'x30' frames and rags, 28x78 digital green screen, 14'x30' black, 90' x 16' bleached seamless muslin, plus many smaller solutions. Besides a very broad and complete arsenal of motion lighting and grip, I have some more basic camera, sound, lens, and camera support gear available. 5DIII, 7DII, 5DII, 60D, D7000, FZ1000, and dozens of the most respected Canon, Nikon, Sigma, and Tamron lenses: 14mm f2.8, 14mm T3.1 cine, 16-35mm f2.8 L, 16-35mm f4 IS, 17mm TS-E, 24mm TS-E, 35mm f1.4 ART, 35mm T1.5 cine, 50mm macro, 50mm f1.4 ART, 70-200mm f2.8 IS, 85mm T1.5 cine, 85mm f1.2IIL, 100mm f2.8 macro, 135mm f2. 300mm f4 IS, 1.4xII, Tamron 150-600mm f5-6.3, Tamron 2x, full cine rig, 7" monitor, Sennheiser & Rode mics, Axis Dolly, Portable platform dolly and rubber track, doorway dolly, 8/12 crane, several good sticks and fluid heads, Manfrotto Fig Rig, etc. If you or anyone you know has time, but limited budget, but needs gear, while I am setting this place up, I am looking to barter with experienced people to help me, in exchange for equipment rental credit.
  4. 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) a 48V Phantom Powered Condenser mic into a box that fits nicely on or in the vicinity of the camera, which takes the XLR balanced in, provides 48V, perhaps has a few conveniences (e.g., 100hz cutoff/high pass filter switch, pad switch, DB/input meter, etc). A built-in Limiter would be an obvious plus but probably would push the price beyond where it needs to be. I would be interested in peoples' experiences using these single channel types (that have a 1/8" output to plug into the camera's line in), particularly where on-board power (e.g., 9V/Battery) vs external power supply is concerned (as to noise floor and any substantial impact on quality). 2) The same as #1, but multi-channel, 2-4 is probably the sweet spot I'm aiming for (though 8 inputs stacked couldn't hurt if it's compact enough). Though in this case, I'd be talking about an external recording device, not an adapter, that's oriented towards video audio capture, and ideally, built with filming with these types of cameras in mind (then transferring and mixing that audio in post, thus having the individual channels separate to work with in editing). So, the same questions as in #1, but also, I'd wonder which devices have proved very suited to the task (35mm DSLR filming in studio, and field capability would be a huge plus) I say "these devices" because I understand the 5Dmkii and mkiii can take SMPTE timecode into the 3.5mm audio input, so I would imagine there are some devices that are like the many others out there, with 1-4 XLR ins with 48V, but perhaps also with an extra 3.5mm cable out to transmit timecode, and perhaps one or more channels of audio (as a submix, for redundancy) straight into the camera while filming? A built-in mic for in-a-pinch situations wouldn't hurt either. I came across this device (Beachtek DXA-5D XLR Adapter) from a cursory search, which has a nice look to it (it's single channel, thus the small and elegant design size-wise, relative to the camera base). Something like that would be great for #1. For #2, that'd be a great format (with the dual tripod connectors), but most likely it's going to be a more outboard piece of equipment due to having audio data storage onboard, more connectors, and greater power requirements. Thanks for your kind suggestions!
  5. 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 few fellow Film-makers who adore the 4008 but I literally can't get to grips with it! Should I possibly add a larger grip underneath? Attempt to clutch hold of the camera differently? Or simply consign it to a tripod? Or am I doing something wrong? This beautiful piece of kit doesn't feel as instinctive to use in my own (not that large) hands. :unsure:
  6. Hi, I'm currently a junior studying at NYU. I will be graduating around January 2015 and I am trying to plan for my future afterward. Long term, I'd like to become a cinematographer but I'd like to get there through gaffing because I genuinely enjoy working with lighting. I figure I gotta start getting grip and electric jobs. I am pretty skilled working with most basic to intermediate grip equipment and lights and am able to run power from breaker boxes to distro boxes to lights while adhering to the ring of fire. I'd prefer to join a union as soon as possible in order to get consistent work rather than freelancing too long. I'd love to stay in NYC if possible but it seems pretty difficult to get paying work for legit productions and impossible to get union gripping jobs without being in the union. From what I hear and can tell it is extremely difficult to join Local 52 the NYC gripping union. Alternatively, I could move to LA. Joining Local 728 seems decidedly easier than 52 with lower union dues. Also, from what I hear, it seems much easier to get legitimate production work in LA. Does anyone have advice on how to start gripping in NYC and joining the union? How much easier is it to get work in LA and how difficult is it to join 728? How plausible is it to join 728 soon after film school? Thanks guys.
  7. Hi Guys, This is a bit of a long one I warn you, but I'd really appreciate any advice or suggestions people might have. I've reached a point in my career where I want to focus more purely on lighting and camera, and move away from the various ancillary creative freelancing jobs that have (till now) supplemented my film work. I'm pretty good at what I do now (and perhaps more importantly - I'm good enough) so I want to put together a small lighting and grip package that will allow me to gaffer on projects when I'm not shooting others (and basically just spend more time on sets). Now I am limited by the amount of space I have in the back of my ute (that's a "pickup truck" to my international friends!), but the following package is something I can get away with once I install some custom shelving. In terms of the lighting package my primary goals are speed, precision and control. Any time I can save setting up additional flags/cutters, means more time spent on takes (where it belongs), it's also more efficient - and I like that. Which is why I'm thinking I'd prefer these particular fixtures. The Dedo units offer more control than anything shy of a Leko, so it's easier to get the effects you want with them (having larger 650w units, and a daylight balanced 1.2k HMI version simply extends the scale of what I can do with them - relative to the standard 150w Dedos). I just picked up my first Area 48 Remote Phosphor softlight yesterday after comparing it directly to a Kino Flo Diva 400 (the standard softlight that I'm most confident and familiar with using) and it beats both the light output and colour accuracy of the fluoro unit by a considerable margin (by eye, I'd guess it's got about 1/2-stop more output), and the Area 48 offers the added benefits of being battery operable, lightning fast to switch from daylight to tungsten, and has no colour shift as you dim the unit (so your not having to add +green gels like you often do when you dim a Diva with tungsten tubes - so there's time saved there as well). Now obviously this kit is a fair bit different from the standard small lighting package you get these days - which seem to generally consist of a couple of HMIs, Blondies, Redheads, Tungsten Fresnels, Kino Softlights & a couple of 150w Dedolights. So what I'm most interested to hear, is whether people would actually want to bring in a gaffer with a package like this? I feel pretty confident that I could light everything that I'm used to lighting with a conventional small package, faster and more precisely with this package - but that's irrelevant obviously, if no one wants to hire me with a package they're not familiar with. So what do think guys, is this a solid package? Would you want to work with it? And if not, what would you want to be different and why? This is going to be a substantial investment for me obviously, so any thoughts or suggestions would be much appreciated! Cheers, Mark (items in bold are the things I don't own yet) Lights: 1x 1.2k HMI PAR 1x 1.2k HMI Dedolight 2x 150w HMI Fresnels (capable of 5600k and 3200k, 650w tungsten equivalents) 2x 650w Halogen Dedolights + dimmers 2x 150w Halogen Dedolights 2x Area 48 Remote Phosphor Softlights (capable of 5600k and 3200k - they're Kino Diva 400 alternatives) 3x Z96 Small LED Panels Grip: 5x 40" C-stands + Grip Heads + Grip Arms 6x standard light stands of various sizes 2x 4'x4' Floppies + assorted blacks 2x Gel/Diffusion Kits 4x Umbrellas (white, gold, silver) 1x 2'x3' Digital Juice Flag Kit (nets, silks, black block etc) 1x 6'x6' Overhead Butterfly (with silk, and ultrabounce) 3x 4'x4' Diffusion Frames (216, 250, 251) 3x Scissor Clamps (for ceiling frames) 2x 2'x3' 4-in-1 Reflector Frames 3x Cardellini Clamps 6x Super Clamps 2x Magic Arms 10x Shotbags Power: 1x 3.5kw Portable Generator
  8. Hi, Im 18 currently studying network and systems but I love film and all the behind the scenes and dont want to sit behind a desk for the rest of my life. I live inbetween leeds and manchester and have absolutly no idea where to get started, I dont finish till early june but I'd love to start getting experience on set. I found a lvl 2 and lvl 3 nvq specifically in gripping but I have to have worked as a grip for two years before being able to apply (seems a bit backwards to me? ) Where do I start? Just to note; I could move to london and use my trust fund to get me off the ground to do what I would absolufly love too. Thanks in advance :)
  9. I'm new in the grip world and I'm eager to work close to the camera. I know that grips often operate dollys, cranes, and lifts but I'm wondering if you have to be certified to have that position? Could someone provide me more information about this? Thanks!
  10. Can anyone suggest affordable solutions to achieve a direct overhead angle in a room on location? Our ceilings are only about 9 ft high, but we're looking to get several high, down-angle wides. We're on a 100mm Ball head tripod head, but can rent the necessary equipment to get the job done. Here is an example of what we're looking for: http://www.dvdtimes.co.uk/protectedimage.php?image=NatTunbridge/abovebart.jpg Thanks for your help!
  11. http://www.youtube.com/watch?v=zgu9uo2UpPg How did they shoot this hardware video? I know it's live action hardware with hands but how did they rig it and make everything white? I really like to hear all ideas out there. Thanks
  12. Hey folks! I am trying to build a starter grip kit on a budget, and would love to hear some tips and advice. I am going to be lighting small sets/interviews, so nothing big. Thank you! :P Here is what I have selected so far: Heat resistant gloves: http://www.ebay.co.uk/itm/330777082434 Gaffer tape - http://www.ebay.co.uk/itm/321094101499 http://www.ebay.co.uk/itm/221179394345?var=520131883492 Pony Clamps http://www.ebay.co.uk/itm/180952212059 http://www.ebay.co.uk/itm/190815505355 Foam board - what is the best dimension/thickness? Black White Stingers: http://www.amazon.co.uk/Masterplug-LDCC2513-Socket-Thermal-Button/dp/B004I5BQ2O/ref=sr_1_2?ie=UTF8&qid=1377601474&sr=8-2&keywords=extension+cables Dimmer: http://www.ebay.co.uk/itm/221226861940 Stands for holding flags/reflectors? DIY PVC diffusion frame ? I already have: C47 Blackwrap 2x China ball
  13. For Sale: Fujinon Manual Focus Controller for ENG/EFP Lenses CHF-3 + FMM-6B The Fujinon CFH-3 + FMM-6B is a manual focus grip which provides precision focus control and is useful in a variety of professional broadcast applications, including live event coverage and sports. Original owner. Controller is in excellent condition. $400 + S&H For Sale: Century Precision Optics Optical Transformer. Lets you mount 2/3” broadcast lenses on a Super 16mm camera with an Arri B mount. Century Precision Optics (now Schneider) 2/3” Super 16 Arri B Transformer S/N C53683 I used to put my Fuji 2/3” broadcast lens with servo zoom on my Super 16mm film camera so I could have power zoom control on my Super 16mm camera.The lens worked perfectly on my Super 16mm camera with no vignetting even at 7.8mm. The picture was very sharp and I could not tell the difference between this lens and my rebuilt Zeiss 12-120mm lens with the Optex conversion when viewing the transfers in HD. The glass on the lens and transformer is perfect – no scratches, mold, etc. The transformer sold new for $2,500. I am the original owner of the transformer. Items were never rented. The transformer can have the mount changed from Arri B to PL although I don't know what the cost would be. $400 + S&H
  14. ACS custom machined hand grip extension for the Beaulieu 2008/ 4008 line of cameras. Modeled after the original Beaulieu grip extension. Attaches to the camera via 1 1/4-20, stainless steel, socket head screw. A 3/16 Allen wrench is required for attachment and removal. Unit has been powder coated black and has 1, 1/4-20 mounting hole on the bottom of the grip for attachment to a tripod. Unit price is $100.00 with free shipping to the lower 48. No other items is listed for sale. Sorry, but couldn't upload photos. Email questions to s.king@americancinespec.com. Photos available via email.
  15. Hey folks, I'm looking to get some advice on car rigs. I'm starting a job in September that calls for tons of car shots so I'd like to see what are some of the best solutions out there. The show will be shot on a Sony f5 with Cooke primes, to give you an idea for weight and size. I was told that SSE Universal Car Mount is the best and easiest to work with. As I've never had any personal experience with it, I would like to get a second opinion before I take the plunge. Has anybody done a job with this rig and how good or bad is it? I was also looking at Mathews Car rigs, they seem quite good also. Any input from experienced grips would be greatly appreciated Roman
  16. I acquired a 4' x 4' frame made of 1" square aluminum tubes and would like to mount it to a c-stand. I am aware of mounting methods involving clamps and gobo's, but how does a Flip Flop Ear (http://www.filmandvideolighting.com/1sqtuflfleam.html) interface with a stand for mounting?? Thanks in advance for your insight! Hugh ps - first post
  17. I've noticed countless amount of time when I saw behind the scene footages where an assistant will be holding a scrim at either the side of the camera or behind the camera. Why do they do that for? Is it scrims or something else which I'm not aware off?
  18. Hi guys i was wondering if anybody out there could point me in the right direction in finding out about the history of Grips in the film industry ether a book or website or personal knowledge. As i need to find out for my final year university project about grips ( as i would like to pursue a career as a grip when i leave uni) and other crew members who are seen as lower down on the film making hierarchy but are vital to a film set. any help would be appreciated
  19. Hi, I'm selling several camera support items. ALL never been used and in MINT condition. I'm located in London, and prefer the buyer picking up the gear. check out these links: MODERN DELUXE DISH LEVELING CAMERA MOUNT http://www.bblist.co.uk/item.php?item=35333 MINI BALL CAMERA LEVELING MOUNT http://www.bblist.co.uk/item.php?item=35332
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