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NIcolas Gril

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About NIcolas Gril

  • Birthday 04/15/1984

Profile Information

  • Rig
    SmartSystem Matrix Extreme Sled + Arm X1 + Vest Lite
  • Location
    Mexico City, Mexico

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  1. Hello people...It seems like the EVF bracket for the mini is out of stock at both cam-jam and jerry hill and I need one. Does anyone sell? Same with the map-1...b&h and abel cine have them back ordered. Appreciate any leads! Thanks, Nico (El Oso)
  2. Jerry and Alec I just realized I didnt reply to your comments. Thanks a lot for the input, it means a lot coming from 2 legends like yourselves!
  3. Hey Anthony, thanks for your reply! Yes...for me it was the same situation: my slow push-ins work better as regular, but after trying several times, its hard for me to re-wire myself to operate with the camera on my left...it's just unnatural for me...the feeling, moving around, positioning myself in the space, etc. So im sticking to goofy! (for now)
  4. Hello people, how are you?? I was curious to know if anyone has switched from goofy to regular o viceversa...When I pictured myself operating steadicam, before owning one, I would always see myself operating goofy...specially because I thought I would have more control with my right hand, since Im right handed and footed. So when I did my workshop and started operating (and then got my own rig) I have always operated goofy...And it makes sense to have the camera on my right... If I use a skateboard or similar, I do it with my right foot in front BUT, during this 2020 quarentine, I have been bored and I took the time to practice a lot of things I dont normally practice...I would try really different drop-times, even neutral, and stuff like that...So, I also tried operating regular...At first it was a big WTF! Some basic stuff felt extremely weird, like un/docking, attaching the arm, etc...but there were 2 things that were really different and felt freaky: having the camera on my left and operating with my left hand....After some time practicing, I got used to everything pretty fast: docking, undocking, attaching the arm and even my left hand feels more precise with my sled (I still feel like when I have to whip pan or make a big tilt, for example, I Ioose precision, but im confident I can work that out)...the only thing still bothering me a little bit is having the camera on my left... But all the other things feel like regular is the correct side for me: walking feels MUCH better, positioning the arm with my right feels more SOLID, starts and lock off also look better and more solid... Also, when operating goofy I sometimes feel the need to "control" my right hand (on the sled) because I realize I am puting more grip than I should... Saldy I dont have a camera now to actually SEE if it looks better or not...this is all just FEELING. I will have my camera back in a couple of days So I guess my question is: has anyone switched and why? How does it work for you? I feel that everything is telling me to go regular but having operated so much time with the camera on my right also plays a big part in not being convinced yet... Ill appreciate any input! TIA! Nico.
  5. Hey Thomas! How are you? Would you ship the rainbow monitor to Mexico City? Thanks, Nico.

  6. Sorry to jump in...but Mike, if you dont sell to Jamie, could you send me info/sizes/photos of your vest? Thanks! nicolasgril@gmail.com
  7. I have a similar vest that I use...it is a Cinema Products vest, indeed. Mine is slightly different tho
  8. I´ve had the same dilemma and recently made up my mind... I have always love operating camera more than anything else, to be honest...and in my mind, coming from film school I thought the only way to operate camera, was to be a DP. And that could be true depending on the market, like Lisa says... But the more I worked, the more I realised that it was possible to pursue a career as a Camera Operator (always from the point of view of someone who is NOT in the states or in any union, sadly) It is my biggest desire to establish Camera Operating as an independent rol from the DP/Cinematographer...and that is sloooooowly happening here in Mexico at least, due to the proliferation of "TV Shows" (some are streaming, some are "normal" TV...some are really good projects, and some are "modern soup operas")...because they usually shoot those with 2 cameras...and more and more the DP is asked to stay on the monitors and have 2 Camera Ops...if not, its just a B-Cam Op that is needed. I always try to be that guy they call to just operate camera. Also, some DPs are being honest with themselves and saying if operating isn´t their strong point...for example, if I were to DP/Operate something, I would heavily rely on my gaffer...some DPs do the same with a Camera Operator (remember, always talking from a place that has no distinction, union-wise....well, no union at all) to the point that Ive been called to operate camera on a feature recently, where the DP did not touch the camera at all...That meant a lot to me, first because of the trust, and second because I know that in the head of the production people that meant 2 salaries...and they usually tackle those 2 with a DP/Operator... This brought 2 new things...The good thing is that there is more and more space for a Camera Op to just do that, operate camera...and the bad thing is that there are some people that call themselves operators and they are no such thing...from framing, to executing, to proposing, to problem-solving...they just dont do the job...they just HOLD the camera (and this was also affected by the proliferation of gimbals...where an "operator" walks with the gimbal and the DP operates with wheels, mimic or whatever...) So...I am still fighting to get Camera Operators the place and recognition we deserve as an independent rol...and I call myself a Camera Operator...Be it a fuid head, geared head, handheld, gimbal...and now, recently, steadicam. I am starting out as a steadicam operator...and would like to add that to my repertoire...and just like Lisa says, decide what is the best support for this particular shot? And then operate camera on that...shoulder, sticks, steadicam or whatever the camera needs to be on... Also, being honest with myself...I KNOW that I dont have something really new or different as a DP compared to all the other options here...but I ALSO KNOW that I do have a differentiator as a camera op, I´ve been told that by many DPs and Directors...and I´ve always thought that that differentiator was nothing more than knowing that operating a camera is what I love the most...is not an "in between" position until I reach the final DP rol...Operating is where I feel the most at home, where I know I can make a difference, where I know I can grow and where I really want to put all my energy! I hope it helps! It helped me letting it out! Nico.
  9. Im looking to buy a PRO GIMBAL TOOL if anyone has one. Im in Mexico, can pay shipping to here. Thanks!
  10. Hi! This is my first post here. I am looking to buy a rig and need it in Mexico. I'd prefer someone local to avoid customs, but if you have sold internationally, I could consider it. Ideally it would be a GPI Pro, a Shadow V, M1, or similar...but I am open to consider any other rig available. I need the full package, sled, gimbal, arm, vest, monitor, cables, etc. Thanks in advance! Nico. EDIT: I will be using it for feature/TV show type of work mostly. Think of an Alexa Mini, medium-sized prime or small zoom, FIZ, Teradek, Cinetape, starlite monitor or EVF maybe...or similar setup
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