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Showing content with the highest reputation since 08/18/20 in all areas

  1. 5 points
    I just completed 6 weeks of production, but some of my working conditions were unique to our production, and most likely not going to be duplicated by any other shows. For example, there was no negotiation regarding PPE. If you were an on set position (the red wristband zone), you were required to wear the provided KN95 masks and face shields, no exceptions. We had health and safety compliance staff all over production enforcing these rules, and our director was the most stringent enforcer of all. He would yell at anyone he saw with their mask below their nose, or the wrong mask, and don't even think about sneezing or coughing anywhere NEAR set. He himself was wearing a $3000 helmet with a hose connecting to a filter on his hip (sound is gonna have a field day in post). As such, I had to get used to 12 hour days, all steadicam, with a KN95 mask and face shield. I had to learn how to breathe in them, and find little moments in between setups to catch my breath off set. There was no choice. After a while, I realized the key was swapping them out for new ones more frequently as I was sweating, as they become a serious problem when the slightest bit wet. I had to abandon wearing my glasses, because I couldn't deal with them fogging up. I recommend contacts or just forgoing glasses altogether. EAR SAVERS ARE A MUST-HAVE. I cannot stress this enough. For face shields, I found that wearing them at an angle, up on top of my forehead a bit, worked perfectly for steadicam. That way, when i look down at my monitor, it protects my head fully while not obstructing the view of my steadi monitor. Using a hat or sweat band as a guide for the face shield band helped a lot. I also developed an order of operations for everything I had to wear on my head: Mask first, then sweat band, then face shield, then Comm headset. Hand sanitizer was overflowing, all over the lot. You could get a handful whenever you wanted, no matter where you were. When your EP is a germophobe, hand washing stations will be everywhere. Also, as far as who can or cannot touch my rig, there were no issues. It was an already established rule on our set that only the 1st AC could touch my camera and only my designated grip could help touch my rig. This was a minor hindrance for the 2nd AC's and some of the camera utilities, but they were overwhelmed with other responsibilities so it ended up working out fine for us. I had a personal Steadicam Grip named Zavier who stuck to me like glue all day, helping me move my rig when I asked, holding a pogo between shots, and spotting me all day. I was his only responsibility.
  2. 4 points
    Hello All, I'm happy to finally announce we are officially launching the latest 1.7 Volt Firmware. Thank you to Larry McConkey & Steve Wagner for all the work they put into helping us make this firmware what it is. Look in the video description on how to proceed w/ getting the update. In the video, it shows the changes that we made in the update to help you understand what the volt is doing in Regular & Sticky mode. If you received a Volt since July 2020 you'll have the latest 1.7 firmware already installed on your control box.
  3. 3 points
    Many years ago I was on a show and this exact thing was happening all the time .Like Cedric I was using 2 magic arms and for most setups was quick and easy .My assistant presented me with this embroiled velcro backed slogan .I now use the SOS plate and it works great .
  4. 2 points
    Steadicam is a very unique job on set, and we've always relied on the ingenuity of other Steadicam operators, utilizing information we research and investigate ourselves, to solve problems unique to Steadicam operators. COVID has created a new set of issues that affects us uniquely. As such, while we need to comply with COVID requirements set by production, medics, or COVID compliance officers, we obviously need to protect ourselves AND the way we work so we can continue to do the best job we can while also staying safe. Masks and social distancing are the obvious baseline for most individuals working on set, but for people wearing 50+lbs of gear every day, masks and distancing may create problems that other departments or individuals may be unable to sympathize with. I think we need to solve this problem for ourselves, and do so in collaboration with COVID guidance: What have you found works for you on set, and also keeps you and others around you safe? What protocols have you established when it comes to handling your rig? What PPE have you found that lets you work a bit more "normally", or at least allows you to physically perform your job as closely to pre-COVID standards as possible? Face shield and N95 mask? Hand sanitizer timers? Have you discussed with the crew and established an understanding that only 1 camera assistant and 1 designated grip may handle your rig when resetting or walking back to 1?
  5. 2 points
    "Undercutting" comes naturally early in your career. You do not have the experience quite yet to be charging what experienced ops charge. Make sure production knows why though, as you don't want them having high expectations. Also, don't take a gig if you aren't ready for it. Word travels fast which can either work against you or for you. Best of luck and you have us all for information and help. Also, nothing against Greg but taking a SOA workshop will also work in your favor. Many experienced ops to learn from, giving you exposure to different techniques from different people. Discover what works or doesn't work for you. You will develop your own style in time, generally a combo of what you have learned from the various instructors. Any questions, feel free to ask.
  6. 2 points
    Hey everyone, I'm selling my trusted Tiffen G70x arm, it just returned from a full service by Tiffen and the ride-system has been upgraded to the latest version. It has some cosmetic scratches, but apart from that it works like new! Included: - G70x-arm - Standard post - Long post - Steadicam Central Rotator Bracket (CRB) for low mode - Original bag - Spin-post: M1-size - Spin-post: Artemis-size New price: €14.000 ($16.500) + accessories My price: €9500 ($11.225) Can be tested in the Netherlands (Rijswijk), but I also ship worldwide at buyers expense. I accept payments through PayPal, the extra costs for this are added to the total price.
  7. 2 points
    We have all been in that situation. It’s hard to speak up but if it’s hurting you say something. Another solution to shooting off the stand is using a vehicle mount on a dolly or bazooka. They you have the arm to make corrections/boom etc.
  8. 2 points
    okay, another PDF here - better organized and a new thing - a button extender for the Volt - great for regular use and indispensable for use with a zoom controller3D printed iems for sale.pdf
  9. 2 points
    Good for you for practicing on both sides, and for questioning and experimenting. That's how we've progressed, operating wise, over the years. Do what feels best. It seems from your description like going regular is the right (normal) way for you. It doesn't really matter how others feel.
  10. 1 point
    I have a G50 that had the X-mod from Tiffen for sale. Located in Eastern TN. (Chattanooga, in case Atlanta or Nashville folks want to look) It's one of the original from the Archer2 kit that can break apart in-between the bones. That makes it pretty great for travel. Tiffen has maintained it over the years, with the most recent being in 2019. Currently it's set up for M2 post size. All knobs turn easily. There are scratches and bumps but all are cosmetic. NEW operators can have that OLD operator look AND save money! Comes with 6in Extension post. Handy for those shots that are 6in higher than the last shot. $6,100 shipped within the USA - No international sales unless we go through Escrow, or if we were roommates in college.
  11. 1 point
  12. 1 point
    I think it's a shame there's so few discussions in the 'Aesthetics' threads here when that's kinda the whole point of what we do, right?! I'm just hoping to leave this space open for discussion on the aesthetics of 1917. From a story and technical point of view, I found this film to be absolutely phenomenal and virtually flawless. But in talking about the look of the movie, I thought it was so beautiful and no doubt thanks to Deakins' incredible talent but of course the operators who made these frames. I was blown away and again watching the movie. A few highlights were that plane crash 'shot' and the 'shot' following George MacKay's character down the river when he begins to go under and then the slow, slow approach to fallen tree with the dozens of bodies slowly revealing themselves - eerie to say the least. I, and maybe you were too, was concerned this film as a oner would feel a bit gimmicky, but I think the lack of 'editing' and the ability to place the audience in real time with the characters was perfect. Every key piece of information was revealed to the camera at just the right time, forcing our reactions to sync up perfectly with the characters. Think - the rat and the trip wire. There is no insert shot of the rat approaching the wire to build suspense and give a wink to the audience, we see the rat at the exact moment the characters do, and only have that half second to react - just like them. Similarly, there isn't any big moments where the audience watches a character's face as they look out at something or learn new information about what's in front of them without us seeing it at the same time too. I suppose the aesthetics of this film are woven so masterfully with TIMING and for me, that's really what brought it all together. I would love to have a conversation about all things 1917 that doesn't get too technical as I see a lot of those discussions happening already! Sam.
  13. 1 point
  14. 1 point
    Is that Preston still up for sale?
  15. 1 point
    I think i've seen a post on the forum about with someone switching theirs but it does require rewiring the plate if you're comfortable with that. Other options are buying a whole new battery mount from Tiffen or getting a V mount to Gold mount adapter
  16. 1 point
    This is a bunch of retired parts from an old Gyro system, everything appears to be functional, but it all has seen years of use. Available are: 4x PRO 1.5” Gyro clamps - $150 each 1x PRO “Gyro System” base, which is very similar to a PRO 1 base, except with a large LEMO input on the front for the battery inputs, instead of the battery cage down below. This would be a great starting point for a custom lower sled, as it has the modern PRO threaded post connector, and a lot of room inside for new wiring. Also includes new circuit breakers, and a gyro mount that slides into the dovetail on top. Asking $400 or best offer. Email me at willsvideo@gmail.com if you’re interested.
  17. 1 point
    Hey, I have two standard 9" Pro plates and the cinematic precision alexa plate and haven't found a need for another plate yet with my DB2. The only one I could think to be useful would be the Zalex long plate for unique long builds or the xcs sliding plate for the wave.
  18. 1 point
    not a paid endorsement! doc was instrumental in our production of this product by providing his volt fork for measurements. super appreciative. thanks doc!
  19. 1 point
    Great product! Works well with the Volt Gimbal.
  20. 1 point
    Hi, I’m selling my sled, it’s done me well but I think it’s time to move on. I’d like to sell it whole, but will piece out of need be. Asking $14000. GPI Pro sled: -DBii Topstage, and 1 plate -HD Junction Box w/HDSDI inner cable -Pro Gimbal (serviced recently by PRO, new pan bearing, around $800) -Pro gen 1 Post -Custom Monitor Mount for Shogun Monitor -Pro Battery Rack Gen IV -Pelican and hand cut foam for sled -Hill Docking Bracket and mounts will upload with more photos ASAP.
  21. 1 point
    And I'll add that most people are right handed - the old arms required a lot more effort to boom up and down and people were often over controlling the sled with the gimbal hand - thus the right hand on the arm and left of the gimbal. Have fun playing.
  22. 1 point
  23. 1 point
    Hi all; I'm not sure where this post will lead but I'm trying to help those who may be young and new to the Movie business think about things they haven't before... This will and can cover a hundred different turns considering we're all in this new world of pandemic business shut down all the way to new trends in the industry. Here's my thinking that I've looked at for a long time and being older than most of you I've seen how the industry and business in every way has changed. Changes (to name a few). 1) Pandemic, who hasn't thought about money and when they'll get back to work? 2) Savings, who really has enough and wished they had more? 3) Savings, if you had it and spent it, how are you going to get it back now? 4) The time between jobs may and is longer. (about 5 more but that's a good start). So, I'm going to lob out some ideas that many will say, "I can't do that because when I'm on a show, I'm already working 80 hr weeks." So this may not work for them but for those others who are not there. Ideas; 1) part time job, way under your skill level that you can get THIS WEEK. No big training, no big pay expected. Hotel, anything, kitchen, housekeeping, whatever? Restaurant, landscaping, etc. you pick it. Why? $10-12 an hour. Hotel, (example) you do weekends? $100 a weekend. $400 a week 5k a yr. Employee discounts on travel, now you can do family vacation for half price, $400 a month you buy stocks and you have a savings account you didn't have before. Now you have an extra 5k for hours that don't really matter, you learn some new stuff I guarantee; even if its about how hard the rest of the world works that spend a lifetime at $10 an hour but I'm sure a lot more too. But now your vacations cost you half.... big savings. Other perks, I have done some and I walk out with the donate/discard stuff and drop it at the local Goodwill and get a tax deduction!!! There are some other savings too... Ideas, think about it.... Maybe this becomes a retirement fund which you never had before? Is there a down side to having an extra 5k a yr? After a few years maybe this becomes the down payment for a house? You wouldn't have had it any other way? "I can't do that job?" Why not? I personally did a landscaper cashier job last summer on the weekends. I learned a bunch, one guy 50+ worked his butt off every day, then I learned later, after work, doing intense days would go to the gym afterwards and walk on the treadmill for another hour. He was made of iron. Compartmentalize money, think about it this way if you want, 'The money I make here, pays my insurance and utilities for a year and now the pressure is off for my other income.' What I'm hoping is you all start thinking about this in ways many of us have thought beneath us and it really can work in many ways. Lastly, I read a lot of the want ads on Indeed and one came up for garbage man/person, it said things like "must be able to get in and out of truck 500-600 times a day and lift 50-80lbs etc." That's a tough life and wouldn't that get you in shape. Last thing I remember about garbage people was they got 100% insurance coverage in the last contract... Every job has some perks that we don't know about, use that money to stay humble and learn and make some money that may pave the way to a savings account you would not have had if you hadn't worked so hard for it. (We all want to make products we can sell but that takes time to get going, this is instant and you can still do those too...) Ideas, look at them. Janice
  24. 1 point
  25. 1 point
    Found these early Steadicam pictures. Seemed appropriate. I will always miss Ted.
  26. 1 point
    NEW PRICE 3400 Dollar + Shipping location. Stockholm, Sweden
  27. 1 point
    What Kat and Alec said. And I'll add this. Yeah, what was $ 30K 12 years ago is now found in good shape for a LOT less. If you have a reasonable pile of funding or cash around and want to dive into this, here's what I recommend. Everyone has strong thoughts on this, but we all respect each other's brand loyalties and efforts. Important to keep in mind if you're new to our community ! My two cents before I dive in? The Gimbal and the Arm are the heart of any stabilizer. Everything else kneels before those two elements. Why? Because they are the points of isolation between the movements of your body and the lens. Keep this in mind as you wade into brands, opinions, recommendations. My other two cents? If you have $ 30K to spend on a system and accessories, you really have $ 25K. Because there is no single investment that is more valuable and will give you a greater and longer-lasting return on your investment than a Steadicam Workshop. None. Now, I know I'm saying this during a temporary period of time when you cannot actually TAKE a Workshop. Trust me- and all others who chime in on this area- learning to operate from experienced Operators who are also good Instructors is a life-long gift. You will be 6 years in and realize you're drawing on some trick or tip you heard about or were shown at your Workshop. Start your career off right- learn the right muscle memory, the right approach, the right set of skills. SERVICE: A biggie. Use the Forum here. Ask around. If you buy into a solid design but cannot get it serviced by the manufacturer or service is onerous, think long and hard about it. Things break, fail, burn out on all brands and all models. Not to scare you or anyone reading this away. It's a fact of working with gear. There are only a few brands worldwide whose high-end design and engineering and manufacturing AND very granular support from working Ops make them good choices. This is truly a world-wide community of people who do this and support all others. The Internet is useful in this regard, because you could be in Tel Aviv ( a far location for me but it may be where you live ! ) and your arm breaks. Who do you call? Likely you put out the All-Call for help and sometimes ( literally ) within minutes a stranger is in touch, making arrangements to bail you out. It is what we do. These are very broad-stroke comments. In addition to the brand names, there is a small group across the planet of people and cottage industry companies that do extremely fine upgrade/ modification work. Recommendations and photos of work to be found here on the Forum by asking in this thread, etc. So- if you find an older rig that needs work, but the price seems very good, don't despair. It's like buying a house. Love the house but need a new roof? Fine. Get a roof put on and enjoy the house !! You will find people who post into this conversation who are intensely passionate about their brand ( in a positive manner ) AND/OR intensely negative about some other brand. It's human nature. This isn't a device like a car or a camera or a boat or something. We strap it against our bodies and dance with it to make our art, make a living and make the clients happy. It engenders intensely strong feelings and loyalties. In NO particular order: Any Steadicam brand rig from the Master Series moving forward. Great gimbals, great arms. Lots to chose from. Vests fit well, adjustable, etc. GPI-PRO. Started in the early to mid 1990's. Superb all around. Beware of Gen 1 battery hangars- only because those original batteries need to be re-celled or the hangar needs to be upgraded to newer battery technology. XCS- A high-end sled design. Those who own them LOVE them, far as I can tell. I've only flown them once or twice. Remarkably rugged, well-engineered, etc. Sachtler- A sled that has some respect from full-time Ops worldwide. I've flown them at trade shows. Some amazing design ideas. There are other brands that I have never touched and so cannot remark upon. Welcome to the community. There are NO silly or unreasonable questions. Ask away. Where are you located? Do you have access to anyone's rig to try it out? It's difficult to get to a stranger and be safe in terms of COVID-19, but there may be ways. Best, Peter Abraham, S.O.C.
  28. 1 point
  29. 1 point
    This is my personal technique for making whip pans. I’m sharing here in hopes that it might help a newer operator who is looking to improve their whip pans during this quarantine.
  30. 1 point
    3 separate systems for sale. All in good working condition and all come in their own specially made Pelican Cases. All come with 2 Receivers to each Transmitter. All have Gold Mount battery panels. All include an Array Panel and complete set of mounts, antennas, assorted camera power cables, and short bnc cables. 1)Tomahawk2 2)Tomahawk 3) Bolt 3000 (barely used) Make me an Offer for any of the above
  31. 1 point
    Although I really like what can be done with the Trinity, I have been asked if I can go from Low Mode to High Mode in the same shot 3 times in 22 years of operating. There are several thoughts I've had on whether to buy a Trinity. 1. Price vs. return on investment. How long would it take to pay back the $63,000 the complete Sled costs? let's say charging an extra $1000 a day Above a somewhat standard $1000/day kit rental. 63 days... Now how many times have I been asked if I can do a High to Low mode shot in 22 years...3. 2. Can YOUR Market withstand that extra Kit rental cost?.... Mine can't...and I live in Miami, FL. I've spoken with Arri Trinity owners and what they get for their Kit alone and the extra labor costs they charge while operating the Trinity can not be gotten here in this town. There are tons of producers and maybe 6 full time Steadicam Operators that work down here who make 90%+ of their income as Steadicam Operators. as for Volt/Wave... I enjoy my Wave. I use it handheld on boats and on Steadi for Windy days, moving platform shots, etc..., I even use it inside a Cinemilled Pro ring with just the Wave and a Camera for great Horizons while using the system with a Ready Rig/Vega combination.... Best, Ozzie
  32. 1 point
    Thanks Tom! Hi Lou, I was the A Camera/Steadicam Operator on "The Handmaid's Tale" Seasons 1 and 2. Thanks for the kind words! Mike
  33. 1 point
    This is great! This needs to be done to the Wave1.
  34. 1 point
    It is with mixed emotions that I write this note to tell the Forum that I am officially hanging up my steadicam after 23 long years. Being a steadicam operator has opened the door to countless opportunities I never dreamed I’d be able to participate in. While I began my feature steadicam career with Roger Corman, I currently work with three Oscar winning DP’s, two Oscar nominated DP’s, and the rest of my resume is filled with ASC member DP’s. I’ve had several MTV music videos of the year (back when those were still shown on MTV), many Super Bowl commercials, several successful big-budget movies, and overall, I’ve been very, very fortunate in my career, and the steadicam is what allowed me to get there. I’ve thought long and hard about this decision, as it has been at the back of my mind for the past two years. I injured my back for the second time in early 2015 - a repeat of a herniated disc injury I first suffered in 2011. The second occurrence was pretty bad, and I was out of work for eight months while I tried everything to get healthy (physical therapy, acupuncture with cupping and electricity, epidural shots, chiropractic, ultrasound, whole body cryotherapy, sensory deprivation (floating), tens machine sessions, etc.). While I eventually regained my health and went on to operate on several more projects with the rig, I began to wonder if the next injury might be more permanent, and if I was doing myself a disservice by continuing. I found myself watching the blocking of a scene and hoping the actors didn’t start walking down the hallway, or alley, so that I wouldn’t need to put on the vest. I began to not enjoy picking it up anymore, being far more content to ride the dolly, hop on the remote head controls for the crane, or put the camera on my shoulder. It was time to make a change in my life, as it became apparent that the only reason I was still doing it was the fear of moving on, and the money I’d be losing by shifting to regular operating. In the end, I realized that while a change in occupation can be scary, I wasn’t going to let that fear define me. While I enjoy a payroll or rental check as much as the next guy, that was never the overriding factor in my life, and I figured it was better to be happy and healthy, then have a few more dollars and be miserable. The job is too damn hard if you don’t love what you are doing. There have been many things to love about this occupation. The relationships with fellow operators is unique, in that you compete for jobs, yet still go out of your way to help your fellow man. I’ve tried to be as helpful as I know how to be with fellow operators in need of loaner gear or advice, because the operators who came before me treated me that way. On what was a big commercial for me at the time, my sled went out while shooting a Disney World spot in San Pedro. Everyone I knew was working and unavailable to help, so I called Joe Broderick, who I only knew by reputation, and who didn’t know me at all. Joe responded by driving 80 miles round trip to deliver his sled to me from Burbank, and then refused to take any money for it. The opportunity to do a job that is both physical and creative is unique. While we sweat and endure while carrying the rig - sometimes with legs and back muscles quivering, there is a real artistic side to the craft that is addictive. Designing shots that tell a story is the huge reward that comes with working with talented directors and DP’s that either know how to move the camera in space, or trust you enough to listen to your suggestions. Once the basic path from A to B is established, it is our job to finesse it, and take it to another level so that it isn’t mechanical and enhances the story the script is trying to tell. The best operators in the world - like Larry McConkey and Chris Haarhoff make this sort of thing look easy, and the nuance and subtlety in their frames speaks volumes. During my time on set, I’ve have many strange and wonderful things happen: I had Madonna tell me “Don’t fucking hit me with that thing” when I first met her on her “Ray of Light” video. I had Harrison Ford embrace me from behind during an entire take while doing a close-up of Viola Davis: when we cut and I spun around to look at him, Harrison told me “Just fucking with you kid”. I had Ben Stiller repeatedly yell at me over his voice of God PA system while he was directing Tropic Thunder. My favorite of those moments had me up to my knees in a Hawaiian river, while Ben started yelling at me to push into a close up on Robert Downey Jr. I couldn’t push because there was a large boulder in my path that blocked the way. I could hear Ben ask John Toll (while still on the PA) “Why the fuck isn’t your operator pushing in?” Still rolling, I tilted the camera down to show the huge boulder that stood in the path between the camera and Downey, and after a pause, Ben said in a somewhat defeated voice over the PA system “Oh…”. Karma can be a bitch, and after our move back to LA, we were doing a scene with Matthew McConaughey playing an agent. In agent’s office, Ben had placed several of his personal items, including some of his Star Trek memorabilia. He had Spock’s ears, Spock’s shirt, and the head of the Gorn in a custom Plexiglas case, from when Captain Kirk fought it at Vasquez Rocks. There was a security guard that blocked the doorway to the set the entire day so nobody would steal Ben’s prized possessions. The on-set dresser went to move the Gorn head when we turned around and picked it up by the Plexiglas. The wood bottom that held the head dropped out of the bottom, and fell to the floor, where it rolled around a bit, while small pieces of 1960’s rubber fell off the head. Whoops! I did a commercial for the Spice Channel where we filmed an entire day of simulated sex. In the last “scene”, the director insisted that he walk with me and look over my shoulder at my monitor as I circled the bed with a couple, including a man who was not what most would consider anatomically correct. The director kept whispering in my ear “Tilt down to the cock”…I learned that day that if you ever hear those words whispered by another man in your ear, you are not in a good place in your career. I once asked Colin Firth if he could help me out with a shot. When he walked into the front door of the house, I needed him to set his briefcase down on an apple box instead of an off-screen bench, as that would allow him to stay nicely composed in the frame instead of leaning partially out of it. Colin turned to me and replied “I quite liked it when actors leave the frame” and turned his back and walked back out the door. We put the next wider lens on the camera. I was asked to do a shot from on top of an elephant marching in a parade. The DP (who also operated the A camera) had done a camera test while riding the elephant during the prep and quickly decided that he didn’t want anything to do with it, so up I went. Thankfully, our camera team rented an EasyRig, as I was stranded on top of the elephant for 20 or 30 minutes, and my legs hurt so badly when I came down that I could hardly walk – all from clenching them tightly around the beast so I wouldn’t fall off as she walked and I balanced the camera on my shoulder. I did a commercial at Vasquez Rocks where I followed a running monkey into the tent of an anthropologist. On three consecutive takes, the monkey ran into the tent, jumped on the desk, stood up on his hind legs and urinated in the face of the actor seated at the desk - priceless. Lastly, I got called to do a Prince video where we finished the day in his bedroom. I was handheld on his bed with a completely nude actress who was touching herself, while lesbian porn was projected on the wall of his room. At some point, the actress turned to Prince (who was directing the video while wearing pajamas that, depending on how the light hit them, were see-through) and asked him “How is this ever going to be in the video?” Prince laughed and told her “Oh baby, we’re gonna fuzz it”, to which she said “Okay”, and continued. I never imagined anything like this happening when I was a sophomore in high school in Montana and Purple Rain was racing up the charts. There are many, many more, but then we all have stories. For the first 14 years of my career, I did primarily music videos and commercials once I got past my low-budget movie phase. Once I started to do big feature films, I started keeping a daily journal of the key points that happened during the day. I have these for every movie I’ve done, and it makes for interesting reading before the movie comes out. It allows me to remember the little things that were funny, hazardous, or amusing, as so many of these moments get lost over the years. I would encourage those out there reading this to do the same, as it is a great reminder and memento of the hard work that goes into making two hours of entertainment. I was so excited when I got my first sled from Derrick Whitehouse. It was a Cinema Products model 2 that had been sitting unused in a closet at a university, and I had Bob Derose spend about 6 weeks modifying it – which was time that I didn’t have it to practice. When I finally got the sled, it was awesome, but it took me a long while before I became proficient at it. My first 35mm job was for Roger Corman, and my buddy Steve Adelson got me the gig when he was double-booked. It took me about 45 minutes to balance the Arriflex BL2 as it was very motor side heavy. My first 35mm shot involved 3 or 4 people exiting a helicopter and walking towards me for a long way across a field. When they stopped, they had a minute-long conversation at an Army tent. My previous work had been in 16mm with Arri SR’s, and the weight of the BL2 crushed me from the start. On take one, the actors started out nicely composed, but soon I was cutting the outside two actors in half vertically. I then scrambled to get wider, which resulted in a head to toe frame. I knew I was fucking up, but there was nothing I could do about it, because despite my brain knowing what needed to happen, my legs were exhausted and had a mind of their own, and refused to listen to my persistent urging. None of the subsequent takes were much better, and I knew I was going to get fired. When they called lunch, I went and sat by myself, thinking that when it happened, at least I wouldn’t be sitting by others. Out of the corner of my eye, I could see the DP get up, and approach me. Oh shit. He put a hand on my shoulder, and casually said that he liked my work, and asked if I was interested in working more days on the film! I wish I could think of his name now…hard to imagine anyone liking those early frames - must have been the poor UHF transmission from my Modulus 2000 into my tiny 7” black and white monitor (my first consumer monitor/TV also had am/fm radio!). Thankfully, I got a little better with time. Thanks for listening. Good luck to all of you - especially those just starting out on your journey. If you work hard, it can take you to amazing heights. Just remember to respect the gear and what it can do over time to your body - doing this job is like being a professional athlete (those who know me would never accuse me of that, perhaps that was part of my problem), and a career that involves this kind of physicality can be shorter than normal jobs. Stay in shape, and stay strong. If nothing else, it will help with longevity, in a career that often values the mindset and experience of age, but the body of youth. I will be selling off both of my XCS rigs in the next few weeks and months, as well as numerous other items (rickshaw, hands-free Segway, etc). I’ll post items on the Forum once I’ve had time to have them all checked out and done some research regarding pricing. I hope they bring their new owners as much as they’ve brought me. All the best, and thanks to all for over two decades of fond memories and comradery. I’ve learned a lot from this Forum, and I feel like I know a lot of you from your posts. Keep up the great work, and I hope to see some of you on set now that I'm not carrying the rig any longer. Brooks Robinson
  35. 1 point
    Jess; You know what a portable annodizer is? A Sharpie! JA
  36. -1 points
    Last price offer: 8500$ + shipping. In two weeks the backage will go back to Russia, so last change to purchase :)


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