Eric Fletcher S.O.C.

Production should always have a certificate of insurance for you naming you as loss payee for your gear. You will need to provide production with a itemized inventory of your package. You should also carry insurance for when you are not working but during work you should be covered by production

I use a Ergo and I like to use the F-bracket to get lower both in high mode and in Lo-Hi mode which is invaluable when you are doing a shot with Kids or Pets

Pro does have the optional longer gimbal handle so you get some of your clearance back. I'm sticking with a F/J/D bracket it's the way I've always done it and the way I will continue to do it.

Telling her story is fine, I don't agree with the use of the photo. No one shared Brent Herschman's photo or Rod Mitchell's photo or Jack Tandberg's photo....

I have Afton, both for those that I've lost personally (And I've lost quite a few very close friends) and those that I don't know personally. I have plenty of Empathy. The more appropriate action when you don't know someone is the black band. Look at Law enforcement when they lose on of their own they wrap their shield in a black band, they don't adorn themselves with a photo of the fallen. Sarah wasn't a public figure until this tragedy, her family has asked for privacy don't you think that you are dishonoring their wishes by publicly displaying her photo when you have no previous association to her? And for the record I find your post Borderline insulting

Victor I think he means the camera bracket, which if the camera will do image invert is the way to go. Flip the image and go!

I'm sorry but if you don't know Sarah, I find it strange to have her photo on your rig. It's totally different if you did know Sarah

Pro and XCS gimbals are pretty much identical in performance (this is for the pro gimbals in the last three years) and feel if anything the pro gimbal has a faster feel

A few things. Agents as its been said, don't get you work, ESPECIALLY if you don't have a deep credit list Agents want to see a track record and see a constant stream of employment Agents make your deals as such they want you working on projects that pay over scale a few shorts isn't decently experienced in the eyes of an agent, just saying

What? That makes no sense and is incorrect

What's your point Afton?

I've got too many rigs. This is my backup XCS Ultimate sled XCS Ultimate LEH with AB Gold Mounts Uno Frameliner PDL Level Wiring Option #3 Firmware 8 Expandable Post Solid Post Upper Camera Mounting Platform XCS Gimbal XCS Monitor Bracket Preston Mount Shipping Case NO MONITOR (But I can probably get you a deal on a cinetronic!) This sled is in excellent condition. $26,500

How about Show White Tie? a funny independent film about the secret society ball in St. Louis. In it's entire history no outsiders have been allowed in and no cameras have been permitted. The complete shooting crew was in White Tie and Tails for the men and Formal Dresses for the women. I had two Tail coats that night One that I wore the steadicam suit under and one for when we were at the dinner.

10.25 for the short and 12.25 for the long one

Except Jarrett the panavision plate is side to side adjustable while mounted on the Dbox and the dovetail is machined slightly undersized

This has literally nothing to do with it, and I feel like, for whatever reason, you're going to try and leverage your experience against mine. I think that's an argument from authority... Which is actually another fallacy. But! This is completely beside the point of this thread, and absolutely has nothing to do with my line of rational questioning. TL;DR- What are the limits of the perceived phenomena as identified and described in the OP? Sorry, but experience has EVERYTHING to do with it. I remember you now. You got upset when we disagreed about your reel, and you seem to be reverting to that behavior again. "Science don't real only feels." What does that mean? You continue to argue but you don't have the experience to understand the question or the answers. I'm sure you will post something stating that you do understand and that experience isn't needed and shouldn't be brought into this, and while you are making that posting and thinking that you do know better I'll be working, I'll be operating, and while I'm operating I certainly won't be thinking about what a room of researchers might score the shot, I go with what my instincts tell me what to do, I go with what the "Music" wants. Those skills are one of the reasons I'm hired.

Before we go any further what is your camera operating and film making experience. What brought you here to ask these questions?

I understand what you are talking about. I have a minor in psychology. Operating is ART once it becomes mechanical which is what you are asking it to be is no longer operating. As for your question of operator and actor moving relative to each other but in an environment that doesn't allow you to see the motion I ask, what's the point? Why do the move? What is your experience and what do you plan to do with this info? Itight help is to understand you and what you are trying to achieve?

Ian, You are trying to apply science (and a tenuous science at that) to art. You can't, every scene, every shot, every take is different. case in point, I have the privilege of day playing on Shameless and I've gotten to work quite a bit with William H. Macy. Bill changes up his takes each one is different and sometime it works to go "off the page" and change up the operating. We shot a scene a few weeks ago and I spontaneously did a slow 70mm Hand zoom that was paced off Bill's delivery. Same thing can be said for the way that Micheal C. Hall and I approached shooting the iconic Kill rooms in Dexter. MCH and I quit rehearsing them in season 4. Neither one of us knew what the other was going to do, but we knew each other well enough that we were in each others heads during the shot. In an interview MCH graciously referred to me as a third actor and character in the kill room and that we were Fred and Ginger. Sometimes He was Fred and sometimes he was Ginger. Can that be quantified? Can you score it? Get a "baseline" for it? What happens when the operator leads? This is everything that operating is about. It's about "The Dance" It's about hearing the "music". That's what operating is, not some study and scores. I'll leave you with this Andy Warhol Quote: “Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art.”

Operating isn't about science and can't be quantified in the ways that you are wanting. It's about emotion, feeling, energy, power. You move as the scene and the shot dictate

It is a pro plate. 15mm rods go in the body, and yes I've needed side to side since I like to run my DBox centered

Alrighty folks they are here. Alexa to Pro style Dovetail. These don't raise the camera yet provide almost 2" of side to side adjustment while mounted to the DBox. Available on Film-stuff.com in both the long version you see here (Perfect for 19-90 zooms) and a shorter version for Primes. Long version Price is $650 with the Primes version going for $575

It is

and while "Beefy" it's only 3 ounces heavier than a regular clamp plate that you would have to mount an adapter that weighs 5-16 ounces. Meaning? it's lighter and stiffer (Ron loves that) than any other Alexa plate out

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