Bryan Fowler

Thanks for the help Tom, I'm cutting some things out now. The choice to lead with Miranda is basically because of my market I'm in. She's famous, so I was hoping that would help. =) And it was shot 2k, a looks a bit brighter. BUT...the shots are pretty vanilla. The soccer shots were DV format, from a 1 light off of S16, so they're a little lacking in quality / punch. I do like the move, but I am a little nervous to lead with that. Also, I was trying to place things together, music video, narrative, corporate. And I felt like the music video options were stronger. Do you think leading with the narrative would be better? then adding Music videos in the middle? I'm still on the fence about it. I'd love to have other feedback to help get a couple other opinions. Anyone? (hey Peter, any thoughts on the reel? ) heh =)

So, in prep to remove some of the shots in the reel, what would be the ones you would start pulling first?

Thanks guys for the reply. (I still have more footage yet to come in, but who knows when it will) Thanks Santiago. Picking music is always hard for me. I had some popular music in there, but I didn't want the music to be the focus. The Soccer shots were fun. Agreed. I put those shots in the beginning, because it's the most famous person I have footage of. She's a famous country music star. (I didn't know about her until the shoot, but others seem to know her) Yes, another question of mine. The shot I really like. And again it's someone notable (kinda). But if the focus is distracting, maybe I should cut it in half? Or cut it all together? I'd rather keep it. I also agree. I wasn't sure if a shorter reel, with say. 4 or 6 noticeable projects would seem like I didn't work as much. (that seems like a silly statement, and I probably can answer it myself. But I'm seeking other's opinions too) Thanks =) Ants, Thanks for your comments too. NOOO.. ok, you're right. And it's something I'm working on. I'm glad you said something though. It confirms what my subconscious was telling me. Well, if it's something you noticed, then someone else will. I did notice that some shots looked off, but the talent looks right. Those were hard for me to judge. Was I wrong? or just compensating for the talent / building / etc. Dude, no problem. =) Yep, I'm going to start working on that asap. You are right, goofy (how did you know? Website I assume?) I'll grab a practice cage, and work on the GB grip. I actually have a problem dropping my thumb. so that might be the issue. Yeah, a bit cheesy is right. That's ok though. It's what the client wanted, and made them cry. (in a good way) Also won a couple of awards. The challenge I had was, the song was so literal. I didn't want to do something that matched completely, but it couldn't be TOTALLY different. I think it went well. The house we shot in, was TOTALY empty. The attic, the "office" Kitchen, stairway, front porch. Everything you see was brought in by the art director and his asst. (my wife Ame). They had about, 6 days of prep before we shot. So I think they did a great job. I'm just glad my reel encouraged you to post more. I appreciate the input. And I'm sure it helps others too. Tom: Thanks for the nice words. And it's nice to hear from the editors side too. I certainly enjoy operating (and editing), and need to practice much more than I do. Ok, off to a meeting. Thanks again everyone.

I know... there is lots of great advice on reels. But still, something happens when I'm gathering clips, and choosing what goes, what stays. A second opinion is always good for me. A few pre-emptive thoughts: • Noteable stuff up front. • Tried to avoid "dolly" shots. (not actual dolly shots, just ones that could be) • Tried to include A-> B -> C shots (which sometimes are long) • It's not as short as I'd like for it to be, but so much of my work is the same (corporate), that I want to remind folks I've been around for a few years. -- But maybe that's not the right thinking. Reel on Vimeo Thanks folks.

Hi Michael, I put mine in the freezer for a few hours, and that worked. I think I might have taken a hair dryer to the arm too, after it was cold. I can't recall exactly.

Tanner, Welcome to the forums You said that you have used "many different steadicam rigs." Does that mean tried them on at NAB? Or does that mean that you've been operating for a while with your own rig? The difference is significant, and quite hard to go from beginner to full rig pro operator in 1-2 months. 70lbs is a lot to sling around for 100+ minutes, and the ON the whole time. Obviously it can be done, but I'm afraid it might not be something you can just muscle through with a few weeks of prep. It might be worth hooking up with an LA op, and wear their fullsize rig for a while just to see how it feels. Bryan (Sorry if I'm wrong, and you already know this. )

Apparently he's also a guru in 'graphix,' space mountain, and the TomTomG0510. And he's against Demo Reels. -------- Just a few notes. Nothing mean. "the camera which can weigh 1-20pounds" - Actually the camera can be 1-40ish pounds "All this weight can cause serious irreversible back problems according to the steadycam operators’ comments I’ve read. This has put many operators out of commission permanently." - Actually, if used improperly, your computer can cause wrist problems, and all handheld cameras can cause back problems. Also, if used improperly, your socks can cause foot problems. - I don't know of any operators that use the rig properly that have back problems. My back problems have disappeared since I started operating. "For this reason it’s a very flawed design that should be eliminated completely, immediately, and redesigned from the ground up." - People die in car accidents every year. for this reason it's a very flawed design that should be eliminated completely... etc. - People also are hurt while walking, or running on set. For this reason it's a very flawed design that should be eliminated completely... etc - People also are hurt while eating. They choke on food and drink...for this reason it's a very flawed design that should be eliminated completely... etc "helicopters...There are also smaller versions of these made for small R/C helicopters that are also used in TV and Films." - For some reason, I can imagine that when a helicopter crashes on a set, there is more potential damage to people than if someone falls over. I think that has something to do with blades spinning at high speeds, and maybe gasoline? - It's hard to fly a helicopter and run sound, or fly the helicopter next to a wall. Or fly a helicopter in 'low mode' "Unfortunately Glidecam and Steadicam still use weights and have not made any notable advancements in their field." - I think they are working on a modification that will alter the laws of Physic. It's probably going to cost a lot though. "Steadicam operator hits a dancer:" - dancer hits a Steadicam operator?" "Amazing unedited steadicam fight sequence:" - how would the segway thingy run up steps" "Steadicam fall on the beach at the end:" - How did he survive all of that shattering glass? "Reason not to use a Movcam: Segway Faceplant:" - I just won't operate my steadicam while this lady is driving, problem solved "steadycam operators walk that way because it’s like lifting a microwave or mini fridge on your back and trying to walk as smoothly as possible. It’s heavy even with a mini prosumer camcorder." - Also, they sometimes have to use the bathroom. When you make your steadicam camera product, you should name it "horraycam"

I just lick all of my gear, then nobody wants it. cold medicine

Welcome Dan I'm sure you'll get some questions about the recorders. Thanks for being available. Bryan

Looks interesting. It would make a step off quite easy.. if you came up to steps at high speed. but yeah, for some reason it looks more dangerous than sitting. I'll stick to my rickshaw or Handsfree Transporter. But it's cool to see.

Try gaff tape sticky side out. For those slippery shots.

That's what I was going to say Charles. But I do wonder about other movie aspects. I think I might have rented 1 DVD in the past 12 months. But according to my iTunes account, 22 movies were 'rented.' And how do things like Netflix fit into the scope? I can imagine it's a bit of a challenge to get a level view on everything. And I wouldn't be the one required to get a balance of what the industry was doing in such a dynamic market. It still is important to keep our heads up, be positive, and enjoy what we do. ...just sayin' =)

Hi John, Yes, it's been sold. Sorry about that. Bryan

I'll come too. I'm excited to get a massage from Alfeo. ッ

So, I proposed to my wife early in the morning Jan 1, 2000. Ame was give the job to "wrangle cables" for the Steadicam Op (triax I guess) but mainly so he could put her in the right place at the right time. I was on stage performing, and I never got to meet him. Anyone here recognize that situation, or know an Op from Dallas around that time frame?

Well Erwin, good posture comes in handy in many different lines of work. Steadicam is just one of them. ...At least that's what I hear... ok, I already regret typing that. I won't hit post.. *looks for delete button* found it...

Well, he is in the business. =)

Hi Charles, I've shot a lot with the RED and my EFP. I had a blue spring arm, and then currently I have a G50. The camera alone is not bad, but like you pointed out, the accessories are what might hurt. Brant has some good tips for keeping weight down. The biggest issue I've run into is what Charles mentioned in a post that I can't recall. But something about the standard RED 15mm / 19mm rod setup is a pain. If possible I think the ET rod holder can help. I'm realizing that this post is really not helping you at all. But instead of deleting it, and leaving for the lunch that I'm almost late for, I wlll push the "Add Reply" button and hope that you get some info that I included that I somehow missed. =) Sorry if I got your hopes up. I should end by saying, I think you'll be fine with the red. get a Decimator for down conversion, research lightweight everything, shoot CF cards (although that doesn't save a lot of weight, it helps) *sigh* later.

I have a merlin for sale. I've had it about 18 months. Used it 3-5 times. It works great. I have my eye on some other things that I'd use more often. Comes with everything, and the small travel case. I also have the arm and vest case that I can include. Merlin $725 Arm/Vest Case $95(never used) Paypal is fine. Free shipping within the USA International is fine, but contact me for a shipping estimate.

Thanks again everyone for the advice. I spoke with the director this morning. He said the HHA was his entertainment lawyers idea, and was intended to be a blanket clause for the whole film. He said I didn't need to sign it, and that the insurance cert that he sent was intended to cover me (body and gear) But now it's sounding like the bomb squad can't do it, so...that might take care of it. =) Thanks again for the fast advice. I also spoke with my attorney, he corroborated what you guys are saying, and what I was thinking. So we're all on the same page. Bryan "is getting older and smarter" Fowler (still a ways to go) =)

Thanks everyone for the quick response. I'm an independent contractor on this one. The HHA specifically lists the Director as the "I won't sue you " person. Robert: Nope, not 600 but heading there. I only mentioned it was low budget to give more info. You are right, large or small show, I still want to go home to see my wife. =) I've had no contact with the bomb squad...yet. I've copied the agreement below, and replaced specific names with generic ones. It looks like an internet form, which is fine I guess, but might help explain something. In consideration for receiving permission to participate in the ______________________ _________________________________ (the “Scene”), I, _________________________________________________ (the “Participant”), hereby release, waive, discharge, and covenant not to sue Directors Name (the “Director/Producer”) and/or _____________________________________, nor any of their officers, servants, agents, and/or employees (collectively the “Releasees”), from any and all liability, claims, demands, actions, and causes of action whatsoever arising out of or relating to any loss, damage, or injury, including death, that may be sustained by me, or to any property belonging to me, whether caused by the negligence of the Releasees, or otherwise, while participating in the Scene, or while in, on, or upon the premises where the Scene is being filmed, while in transit to or from the premises, or any place(s) connected with the Scene or, generally, the motion picture project currently entitled “Project Name” (the “Picture”). B. I am fully aware of the risks and hazards connected with being on the premises and participating in the Scene. I am fully aware that there may be risks and hazards unknown to me connected with being on the premises and participating in the Scene. I hereby elect to voluntarily participate in the Scene, to enter upon the premises, and to engage in activities connect with, related to, or arising out of my participation in the Scene, knowing that conditions may be hazardous, or may become hazardous or dangerous to me and/or my property. I voluntarily assume full responsibility for any risks of loss, damage, or personal injury, including death, that may be sustained by me, or any loss or damage to property owned by me, as a result of my participation in the Scene, whether caused by the negligence of the Releasees or otherwise. C. I hereby agree to indemnify and save and hold harmless the Releasees and each of them from any loss, liability, damage, or costs they may incur due to my participation in the Scene, whether caused by the negligence of any or all of the Releasees or otherwise. D. It is my express intent that this Release shall bind the members of my family and my spouse, if I am alive, and my heirs, assigns, and personal representatives, if I am deceased, and shall be deemed as a Release, Waiver, Discharge, and Covenant Not to Sue the above named Releasees. In signing this Release, I, the Participant, acknowledge and represent that: 1. I have read the foregoing Release. I understand it. I sign it voluntarily as my own free act and deed; 2. No oral representation, statements, or inducements, apart from the foregoing written agreement, have been made; 3. I am at least eighteen years of age and fully competent, or, if I am under the age of eighteen, I have discussed this Release and the Scene with my parent or legal guardian, and my parent or legal guardian has approved and signed below; and 4. I execute this Release for full, adequate, and complete consideration fully intending to be bound by the same.

I have a job that involves an explosion. The city bomb squad is doing the detonating. I am being asked to sign a hold harmless agreement. It's the first one I've ever seen, much less heard of. Basically saying, I can't sue them if I get hurt on set. Is that normal? Thanks for the help. It's a low budget show... naturally.

Thanks guys, I got something worked out. It's not ideal, but it will get the shot, and keep me safe. And we are able to do some slower speed work for the shots. Good info on the Tyler Mini Ken, I'll keep it in my toolbox-in-my-brain. Bryan

uh....ok?

Brant, first. sorry, I forgot the ®. =) The speed was dictated by the producer. But turbulence will be a great counterpoint to the speed. They just want it to look like it's "in use." We're still looking for the vehicle, as well as the mount. so... it might be a mute (moot, moo-t, whatever) point. But I'm still looking for a way to get some Antlers® =)