JamieSilverstein

You might want to get in touch with Markus at Baer Bel. He has crafted a pretty cool Masters bracket in the past.

if the union operators saw this imminent train wreck sooner with a "heads up" from the admins over the Locals this would have no doubt havebeen avoided.... I have to take issue with this statement. Operators within the Local have been trying to restrict the pratice of DPs operating for many years, and have tried to do so in many ways. I wrote a paper when I was on the executive board addressing this question in the late '90s. The question of letting the DP operate is a very complex one, that is tied in to creative preference, political power, and producer/director pressure. If there is blame to be had, its on the whole Local, not the operators. We never banded together as Locals should and defended the position. We never showed the Producers and the International how valuable the position is and necessary to most film sets. Now that the horse is out of the barn, the Local is working on showing a united front. With hope this will send the message, at least to the International, that the operator is necessary on a film set, and that we need to find a way to support the position.

I have to agree, it is a dark day, but there is silver lining, and that is that the Local FINALLY banded together to vote down the contract. That in and of itself sends a very important message to the International. It says loudly and clearly that the members of Local 600 have all agreed that the operator's position is essential to the everyday working of a normal feature film and episodic tv set. In conjunction with the vote, Local 600 is discussing other measures designed to publicize the issue continuing to show an overwhelming support for the operators. This too will help to shore up the idea that WE, Local 600, actually support our cause and that the International should do the same. Is it a little to little too late? Maybe, but I blame the Local's current administration for the lack of effort before the fact, noting that they were well aware of the oncoming problem for a while and chose not to coordinate an effort to get the word out until the vote was near........ We as operators are suffering from lack of enforcement of rules pertaining to DP's operating on films and tv in the past, and lack of motivated insightful action in the present. With a little luck, we will be able to hold on to our jobs (save those on films where the DP insists on operating), and maybe even gain some added support from the International in the future. Lets keep our fingers crossed. Jamie

Bracket Schmacket!!!!!!!!!!! Did you say Bracket Schmacket?????? Jim that kinda reachin'. Wish I had time to go out there and visit with you at the NAB. Have fun you Schmacket you. Jamie "can't top Bracket Schmacket" Silverstein.

7.9 pounds isn't much heavier than an Arri Master Prime, and they flew pretty wonderfully on the last movie that I did. And the Master Primes are fixed focus! I look forward to seeing and using the Cooke. Thanks for the write up Brant. Jamie.

Jason; I love what Jeff said in his posts, but I think that another voice might give you a different way of hearing those things..... 1) You do yourself a disservice if you try to do the focus/ zoom thing and operate the steadicam...... Operating the beast is hard enough and I think that doing all three makes life even harder...... If at all possible, get an assitant and let them work out their own rate. 2) Secondly I agree, you aren't competing for the same jobs as Jeff or Eric, but you should reach for the sky and settle for less if you have to. Try getting $1000/8 and $700 for the rig for starters. I base that on $125.00 an hour, which if you are working a full day is a bargain for them. They should try to lug this thing around for 8 hours. I am assuming that you have poured some big cash into the rig itself, so think of the $700.00 as about 1/100 of the cost of the rig. In the words of Jeff, all is good, and all should be open regarding the way things work. Good luck. Jamie.

Its encouraging that the rest of the body is coming out and supporting the operator classification..... At least in words.... Not to put a damper on the situation, it still comes down to two things. The first is the overwhelming support of Tom Short regarding this cause, and the second being the ensuing support of the rest of the Hollywood Basic locals in not ratifying the contract as presented. I think that with this current leadership of Local 600, Short's support is going to be limited. Why should he support a local that questions most of his actions? Isn't there an adage about not biting the hand that feeds you? I wish I could have gone out there to be with you fellow operators and show my support. I was told by Tom Houghton that it was a very constructive meeting, but the question is where do we go from here? Any ideas?

As a member or both the SOC and Local 600, I think it would be fantastic if there was a link to the mid west regional and east coast regional offices of Local 600 so that all Local 600 member impacted by the contract can participate. Denis maybe you can pass that on to Dave and Dunham. I'll talk to the business reps here.

Jeff; Chris Murphy rents all sorts of gear, and its all in pretty good condition. I know because I just worked with him on Flight 93 here in NYC. His cell # is 484 322-0640. I hope this helps. Jamie.

I left the Local 600 executive board during the last election, deciding not to run because I felt that the politics were getting in the way of the actual helping of the membership. Gary Dunham and party have been hell bent on getting recognition of certain issues before the internatioal that were and I guess still are unpopular with the international. By trying to bulldoze the issues, they have alienated the international, and instead of being a model example of a local that is bicostal and functioning well, we have become the whining local that just wants its way. In all fairness though, this issue regarding the operator has been brewing for many years. I attended local negociation 6 or 7 years ago when Short told the producers that any discussion regarding the operator and still photographer positions will result in the IA's leaving the table. I've got to tell you, when he said that, the room full of Producers etc. shut up....... I was pretty impressed with the display of balls and how effective the message was. It was then that I learned that I might not always agree with Tom Short, and I might not always like the way he does things, but I believe that he has a way of getting things done for those who support him and in return who HE SUPPORTS. Essentially, its his ball, and we can either play or not, but any way you slice it, its his ball. Now that we don't have his support, the old standing issue of the operator position became vulnerable, and the producers pounced. Finally, as far a ratification is concerned, the Hollywood Basic Contract is ratified by all those unions in the Hollywood basic bargaining unit. We are only a small small part of that unit. I believe that if it is ratified by the majority of the locals that it will go into effect. We might have lost the right to have an operator on every show, but as you all have already discussed, there are many a DP who don't like to or cannot operate, not to mention, those on TV will suffer greatly if they do day in and day out, especially if they do Steadicam as well. I am not sugar coating it..... It is not a good day for film workers, but it is not the final day, and there are going to be many more before the light switch is turned off. Pay attention to what is happening, stay vigilant, and try to join and support the union, because that is the only way that we are going to garner respect from producers; not just in the US but internationally. Peace.

I left the Local 600 executive board during the last election, deciding not to run because I felt that the politics were getting in the way of the actual helping of the membership. Gary Dunham and party have been hell bent on getting recognition of certain issues before the internatioal that were and I guess still are unpopular with the international. By trying to bulldoze the issues, they have alienated the international, and instead of being a model example of a local that is bicostal and functioning well, we have become the whining local that just wants its way. In all fairness though, this issue regarding the operator has been brewing for many years. I attended local negociation 6 or 7 years ago when Short told the producers that any discussion regarding the operator and still photographer positions will result in the IA's leaving the table. I've got to tell you, when he said that, the room full of Producers etc. shut up....... I was pretty impressed with the display of balls and how effective the message was. It was then that I learned that I might not always agree with Tom Short, and I might not always like the way he does things, but I believe that he has a way of getting things done for those who support him and in return who HE SUPPORTS. Essentially, its his ball, and we can either play or not, but any way you slice it, its his ball. Now that we don't have his support, the old standing issue of the operator position became vulnerable, and the producers pounced. Finally, as far a ratification is concerned, the Hollywood Basic Contract is ratified by all those unions in the Hollywood basic bargaining unit. We are only a small small part of that unit. I believe that if it is ratified by the majority of the locals that it will go into effect. We might have lost the right to have an operator on every show, but as you all have already discussed, there are many a DP who don't like to or cannot operate, not to mention, those on TV will suffer greatly if they do day in and day out, especially if they do Steadicam as well. I am not sugar coating it..... It is not a good day for film workers, but it is not the final day, and there are going to be many more before the light switch is turned off. Pay attention to what is happening, stay vigilant, and try to join and support the union, because that is the only way that we are going to garner respect from producers; not just in the US but internationally. Peace.

Which is the situation in..... almost EVERYWHERE in the world! This is going to happen, like it or not. So you better prepare = be real good friends with them! Rob; I'm not sure that that is the best attitude for the situation. In the US staffing of the operator has been a mandatory position and it has been one of the best things going for film workers here, and has aided filmworkers around the world. I would hope that one and all would rally around the cause, support the strengths of the contracts here, knowing that unless we can maintain some standards, we will be working more hours for less with absolutly no benefits whatsoever. For those of you who do not belong to a union, it is my hope that one day you do belong and can gain some of those benefits as well. Downgrading of conditions in one place is only a cause to downgrade in the rest of the world, so we all have to try to keep conditions and staffing rules and benefits as high as possible. We are on a backwards slide, and have been so for several years, partly due to globalization, partly due to the work forces vying for the same piece of the pie. To be real good friends with producers and DPs is meaningless if they don't want to staff a $100,000,000 picture with an operator. Pretty sad if this goes through.

Guys; Thank you one and all for your essential insight and kind words of support. I posted my particular question because it had been on my mind - the whole stair and hardest shot possible concept - for a while, and I knew that you would all approach the question with respect and wonderful professional insight. In spite of the problems that exist on this sight, time and again it has proved to be an invaluable resource. One that has helped me save a ton of money, learn about new products, and share concepts and creative ideas with peers that I honor and respect. I survived the 8 week madcap ordeal with the brilliant but...... goofy Russell Carpenter, relatively unscathed. Wrap was last night and with the hugs and kisses behind, soon its off to the more secure confines of Rescue Me. But first a few moments to wish you all a happy and healthy holiday. Rest well. Jamie. Ps Dailys were great and they loved the way the stair scene was shot. Thanks again.

There is another Hummingbird alternative as well that is not supplied by MK-V. The Hummingbird, without Frameline generator and heater casing, etc. costs about $3000.00 US and is a great monitor. I own the Blackbird, which is also a Hummingbird and not reworked by MK-V and that runs about $5000.00 US. The difference is that it has framlines and a PRO connector built in. Its a great day light monitor. I have only had one incidence of needing help seeing, and that was when I had a direct kick from the sun. Otherwise, it has performed wonderfully under all circumstances - hot, cold, wet, dry, bright and dark. Jamie.

So here I am, working on this show with Russell Carpenter. You know Oscar winning DP, shooting a $10 million picture in nyc ......... The show has been tough going for many reasons, very few of which have had to do with me or my assistants, but it has been a hard show none the less. The day is about shooting Jessica Alba and Terance Howard running away from the cops through a hospital. We get to a point where she has to run down one and a half sets of stairs only to find cops on the bottom of the stairs, and run up them at full speed again. Up and down a set and a half of narrow steep metal stairs at full tilt.......... Now I suck at Don Juan when it comes to stairs, and tried to do the shot backwards, Knowing full well that I was going to break my neck if I wasn't lucky. Needless to say, I suggested that we change the shot. I guess my questions are these; 1) have any of you done that type of shot, and if so tell me? 2) are any of you really that good at DJ to run full tilt down stairs and hold a great frame? and then run back up those same stairs. Backwards? 3) I told the director and Russell to break the shot into several parts and work it that way. This is the first time that I have had to admit that couldn't do a Steadicam shot and I was totally uncomfortable saying that (my own fault and weakness)........... What would you have done? We got the shots, the director and Russell were happy. (I haven't been fired) Guess I'm going to practice more on those stairs again. Only this time at full speed. Oh and by the way, Jessica Alba is as fantastic and fantastic looking as you might imagine. I look forward to your comments and thoughts Peace Jamie.

We have one on Rescue Me. I call it the question mark, because thats what it looks like. I am not a great big fan of it because even though it takes the weight off the shoulder, it compromises your ability to pan and tilt. No its not an alternative to Steadicam, its an alternative to a painful shoulder and back if those muscles ache when doing hand held. The other operator, whose back is not quite as healthy as mine loves to use it, generally more so towards the end of a the day.

Gerard; How are you? When considering another monitor, you should also consider a Hummingbird. I own one, and the picture is great and very very bright. Certainly bright enough for any daylight conditions. The weight is very good relative to the balance with a CRT, and the price is about the same as a transvideo.

Guido thats not totally correct. You can get a Hummingbird Blackbird from IMP electronics directly. I have owned one for about a year now and I am pretty happy with the performance and service.

I only have one question. What is the cost of the top stage? In US Dollars please. Jamie.

The gimbal sleeve and the monitor bracket clamp have been, BUT I still have, 1) 1 Gryo post clamp, for a 1.5" post. 2) Rear mounted vest carrying bag in excellent condition. I would love to get this stuff off of my hands so please make me reasonable offers. Jamie 917 796-4217

Regarding gyros and other parts of your equipment, I usually rent the whole rig for a price, and include all of the pieces. Charge a price that you think is fair relative to what the overall cost of the equipment and upkeep is and don't bother the producer with the "one time charges". They like to know their costs upfront, so if you keep the surprises to a minimum, you generally get the rate for the rig that you seeking.

Bob; Just curious, what spray do you use on your Gimbal? I use an electronics cleaner, but I am not totally satisified with the way the Gimbal is responding lately.

I am tired to looking at this stuff in my basement (dry and clean) so I am putting it all up for sale: 1) Daniel Sauve vest carrying bag in excellent condition. $200.00 2) 1.5" Gyro post Clamp. $200.00 3) XCS monitor clamp (Clamp ONLY not the monitor bracket). $150.00 4) 2 Hill 1.5" docking bracket rings from the NEW STYLE Gorlok. Buy these if you are planning to buy a new Gorlok, or if you want extras. $50.00 each 5) 1.5" XCS Gimbal sleeve and bearing cover. Works with the XCS gimbal on 1.5" posts. $400.00 If you are interested in any or all of this stuff, please feel free to email me or call me at 917 796-4217. Thanks for looking; Jamie.

I think that the lesson learned here is that you probably can't have everything. Its difficult to have a great arm at a price that is less that what GPI is charging that is field servicable and is as flexible as the PRO arm. However, you have to acknowledge that Tiffen is now making strides in an equally admirable direction, namely, in making an arm that is responsive and of overall good quality at a very reasonable/affordable price. REALITY CHECK...... Before the PRO arm, all arms had exposed parts, and there was some marvelous photography made with them. Infact some of the best shots in Steadicam history were made with arms of far less technology. Yet another way to look at it...... How many cleanings would it take to equal the cost of the PRO arm if one were to buy the 70 arm? If the answer is more than say 10 then you are looking at a good deal. I have owned my Masters arm for 8 or 9 years, and have had it cleaned and maintained 3 times, at the cost of about $500.00 per time. If you are shooting in the desert all of the time, then I would agree, you might want to/ BETTER DAMN WELL get the PRO arm. It only makes sense given the rigors of your environment. If you live in a metropolitan area and a vast majority of your work is done in that environ, then either arm is probably a great choice. Hell a good 3A arm would probably do just fine for the type of shots most of us do on a regular basis. How about that Rig Engineering arm for that matter? Its good to see another arm out there stirring up the interest of the masses.