Alfeo Dixon SOC
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Posts posted by Alfeo Dixon SOC
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congrats peter!
wait an minute... @#*$! now I have to butter up to some new sales rep...
Hell, welcome back anyway
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You wouldn't have a picture of that by any chance?
Sorry, no I don't.
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Fracol s system is cleaner than the weight rod system.
Ian Fox showed me his mod that Tiffen made... it was an adjustable angle third battery mount that screwed into the battery rails and allow one to swing the 3rd battery from directly under the post out and upward towards the monitor, very cool in my book.
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Heading down the the American Black Film Festival from the 22nd until the 24th.
Looks like I don't fly out of MIA until 7pm on the 24th... that would be a great day to hangout. Would love to see a few of you guys down.
Let me know if you have time to kick
-Alfeo
btw: the closing night (23rd) film "Raising Izzie" is the one I operated on
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This evening I took on the task of disassembling my arm (not sure if its a Masters or an Ultra, how can I tell?), and doing a thorough cleaning. I discovered one of the bearings was completely mangled, and one of the cables that links the springs could use a replacement.
Does Tiffen carry these parts? if not, does anyone have good ideas where to get them?
dont quote me, but I don't think there was an Ultra 1 series arm... only the Master Arm. Could be VERY wrong about that because the Ultra I use to fly was one of the prototypes and had a Master's Arm
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i think he meant jewel, can't comment on the rest...
...Why?.
Jew is a known derogatory term used toward Jewish people.
"A little jewel" is a term meaning something precious.
The other part I didn't exactly know what you meant
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i think he meant jewel, can't comment on the rest...
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good history in that case!
check the trap door before you sell it!!!
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maybe it does like a higher amperage draw...
I had an incident with my first Epic experience a while back where the camera would shut down after a bit of use from some third party batts (can't remember which brand.)
So as the Voltage drops, the Amperage increases, right? Me thinks the Epic can control or speak to its own kind, but doesn't want to play nicely with those non-red batt... just a thought
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Not that simple. The Key Grip shadow was there because he was not a Local 481
Key Grip (regardless of an IA member or not; the job was in Boston so you HAD to have an IA 481 Key Grip).
Sanjay, I know you and where your from... just wrapping my head around the rest of it. Besides, I assumed you held an IA card by now
Thanks Alec, I forget that the technicians are under a local Local...
So if the Key Grip came from LA's Local 80, he would still need a 481 shadow or have 481 card?
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I did get provisional membership to the IA ... It was mandatory for my 'O1 Visa'. Production also had to hire a 'Shadow' Key Grip by Union law. The Operating issue was a bit more complicated as I recall. I know that production was having a headache over it. The Director insisted on me operating, where it would have been simpler to have a local operator.
So I take it production took place in a "Collective Bargaining State" and not a "Right-to-Work State" for this to be inforced? Your shadow... did it see itself? JK, was your shadow there everyday you operated? If so, that would be the reason for the shadow Key Grip, because you were staffing the operators position and there had to be a staffed Key Grip also... one man can't staff two positions under an IA contract in a CBS or RTS.
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Did you get the Key Grip credit? Did they credit Dave and/or me for that shot? How much Steadicam was in the rest of the film?
Sanjay knows, but for those that don't... I was brought in to do that one shot. We did it the first day, but it was raining and not ideal. They wanted to try again a second day, but the schedule ran long and the shot was pushed. I was unfortunately booked on something else the following day and couldn't come back for it. Dave Chameides came in, and I'm pretty sure they were able to get to it that day. I have to say I was very bummed I wasn't able to stay for the third day, but I'm glad it went to Dave at least.
Hey Afton,
We got the shot with Dave, since the weather cleared up 2 days later and you were unfortunately unavailable.
I believe both you and Dave got credit. From what I understand I could get credit as Key Grip but not Steadicam Op because of the terms of productions agreement with IATSE. Anyway, I don't really want to create anymore trouble for production. I know it was hard enough for them to get clearance for me to come in as Key Grip, since that was unprecedented on a Union film anyway.
Sanjay, it sounds to me like you are not an IA member? Which, depending on where you are shooting, doesn't matter if it is in what we call a "right to work" state. The only issue there should be at that point, is that someone else is bumped up to Key Grip for the day, if you operate the camera (can't do both jobs). In terms of credit, its sad, but the producers have the option to not give you credit, even if you did the work... not because your not an IA member, but because they have the right to do so (check the deal memo).
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While it's nicely manufactured, I would refrain from using it in that configuration without a support for my upper body. Standing on a moving platform without support might look cool, but sudden changes in direction or unplanned maneuvers might lead to an unpleasant exit from the ride and surely 'not sticking' the landing. Safety starts BEFORE you get onboard!
AND.... that small railing will trip you up in a heart beat.
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We did some work for NBC overhere in europe a year ago. Boy, a year ago, never got paid, always excuses, then the W8 form isnt good, then the financiel guy isnt there, then the mailbox is down and so on and on. It isnt a small network, so we dont really understand this crap, but we will be sure about one thing, cash only next time.
Wooooah... sorry, I did not read and fully understand exactly what your problem was.
NBCUniversal Corporate Tax Dept.
....[They] keep sending back with all kind of excuses and W-8 forms.
Before you send your letter. Did you send back the new W8 from that they had sent you?
I have had vendors refuse to pay until they got the "New W9" (which I assume there is a New W8) filled out from me. The IRS must be putting down the foot on companies with independent contractors... so this may not be too unusual.
What is not acceptable is that many times these companies will sit on your money until you call them to see why you have not received your payment. Its really F'ed up sometimes, but they actually make in interest, while your funds sit in there accounts.
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I've owned a zephyr for about six months now, and I'm pretty happy with it. However, I do plan on upgrading to a bigger rig in the next year or so. I've been doing a lot of research, and I'm torn between staying with Tiffen, our going over to Pro.
In was leaning heavily toward buying a used Pro setup, and upgrading gradually...
Pro will allow you to buy older and upgrade to YOUR ultimate rig. Tiffen rigs are not so versatile in that matter, you buy to rig you think is your market. That said, you will most likely spend more upgrading part by part instead of a lump sum investment. Not to mention your introducing older OEM with newer tech parts and electronics. The cautionary tale is you may induce issues that did not exist before your upgrading of different parts and components.
...but I've been thinking lately that I might want to invest in a Tango and eventually upgrade to an Archer 2.
I know this comes down mostly to preference, but I just wanted to get some thoughts on the subject. I guess my main question is how practical would it be to invest in a Tango? Does anyone on here own one? Could you share your experience with it?
Tango is a bit more shot (Style) specific than the AR. But I have lost more than two jobs due to the director looking for an AR type of shot... so you will have to create your marketability with the Tango.
I flew the Tango for its inaugural flight in Saõ Paulo, Brasil for the finale of Ídolos (Idols Franchise) and it was a huge learning curve for the director to understand the wide range of diverse shots. The problem arose from us NEVER having a camera ready for rehearsals due to DP vs Engineering camera opinions and less than 6lbs camera options and availability for an On-The-Air-Live show. Since that show, I have come across three specifically asked for shots that I said "Thats a Tango shot." Now, depending on your market, you can create your own steady flow of work.
Last NAB it met a fellow that was with a certain network and the problem with the gear they already use (dolly and jibs) is that they can not shut down the area that the shoot in and the pedestrian customers are not easy to deal with, but the ideal tools for the job is remote head on a jib... just too dam big! When he described the type of work to me... I said... "Thats a tango shot!!!" I immediately preceded to set up a simulated situation that successfully showed him how the Tango is perfect for MOST of 80% to 90% of the content he would shoot for the network. So basically I could generate a good return on the investment out of that one client.
Hope that helps
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what the hell is this thread about again?!?!
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i do like the name the SHAFT!!!
excuse me while I whip out my shaft...
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still have it
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We did some work for NBC overhere in europe a year ago. Boy, a year ago, never got paid, always excuses, then the W8 form isnt good, then the financiel guy isnt there, then the mailbox is down and so on and on. It isnt a small network, so we dont really understand this crap, but we will be sure about one thing, cash only next time.
A nice registered letter with a Cease and Desist due to Copyright Infringement will do wonders... you may never work for them again.
Remember, that even as a "work-for-hire" employee, they have to pay you to own your work... period!
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Spend the money! The peace of mind is priceless!!
Here, here Brant S. Fagan of the SOC... well said chap
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not bad for a pogo cam... now if i could only fit that F65 on it?!?
Barking Dogs…
in General Discussion
Posted
I bought a pair of the Vibram FiveFingers from REI... I figured if I didn't like them, I could always take them back in any condition.
Was very pleased with them and also decided to try them on set... now this was in the studio all day on a thin sheet of that black dance floor the grips use and once in the rig. My dogs hurt bad, but I usually switch up between Puma's driving and soccer and Merrell's trail shoes. I still love my FiveFingers and will most likely not use them too often on set. My greatest fear is the dolly grip while wearing them.
-Alfeo