Michael Stumpf

do you guys think they are "demystifying" the film business? Do you think when they show too much often they "give away" trade secrets and the "awe" of the film for audiences? Just a thought, because when I was growing up, I was in awe of how they (filmmakers) did stuff. Now, audiences just have to watch the behind the scenes or "making of" and suddenly it looks easy and makes the audience go into other films with a different view point. Could you imagine if they told everyone how they did the shot in Citizen Kane? That shot has mystified people for decades and been talked about in film schools for generations. Now it would be like, "yeah, no biggie, they just did...." What do yo think? Am I crazy for beginning to think that way?

That's one tiny chimp in that shot. We had males that were nearly twice that size. You know, I thought chimps were nice and cuddly. They are to an extent, but when they get upset or "amped" up they are a handful. When I made the comment to the trainers, glad they aren't Gorillas, he said, "why, they are easier to work with than chimps." I said, "really, why is that?" He said, "because Gorillas have nothing to prove, they know they are the king when they are around, chimps on the otherhand, especially the males, want to challenge people/other animals to see whose boss." He went on to say, Chimps are "much more" aggressive than Gorillas. Chimps, like humans will kill there own kind, and in a gruesome way (by literally tearing their limbs off and EATING them while the invading chimp is still alive.) He said it was the most disturbing thing he (the trainer) has ever witnessed. The 3 chimps we had, (two big males and a smaller female) were great, but the males went off the handle a couple of times. Ellie, the female was an absolute doll. As loveable and affectionate as a pet dog. But yes, when a chimp flies off the handle, look out, things will get broken, and you just hope it ain't YOU!! All three trainers stopped Jonah from laying me on my back with my rig in low mode. Jonah was about 5 feet (or about 1/2 a second) away from pummeling me. I was moving backward and he was in a full run forward. He was chasing extras (the back two of which were trainers of course) and I had a trainer on each side of me. When we got to the stop point (at which I had about 3 feet before a railing) Jonah didn't want to stop!! He was so amped up like a rushing running back and headed DIRECTLY at me! The female trainer (who I immediately afterward expressed my deepest thanks and newfound love for her) grabbed the chimp and she went straight down on her BACK. She tackled him like a linebacker. The two male trainers at my side were right on top of the chimp a split second later. Needless to say, I had NO problem giving the trainer a backrub later after she mentioned she was sore after that take down. It's amazing the strength those "little" suckers have. They could rock their truck back and forth (a full size Ford Van) with ease. If I knew how to put pictures up, I'd post a couple. They aren't great pictures anyway.

Of the BL's you'll prefer the BL3 when taking everything into consideration. BL1's and BL2's won't make the sound guys happy. BL-4 and BL4s fly nice and solid, but it takes a toll on you. I, like nearly everyone else here, avoid flying a BL4 or BL4s at any cost. 535B is highly prefered to the BL's, but is a major jump up in rental price. Moviecam is a fanastic sound camera. One of the quietest (Compact). It's only about a pound less in weight than the 535B when both are in Steadicam mode. Flies really nice. Moviecam SL is extremely light and therefore easy on your body, but isn't the best for quiet situations. Still considered a sync sound camera, but the sound guys will pick up the camera noise on tight interiors when the boom guy or actor is close to the camera. The SL in many ways is TOO light and like an Aaton 35 mm or 16mm easily gets blown about in even the lightest wind. You have to pay more attention to your horizon with it. The Millenium XL is a great camera to fly. Lightweight (yet not too light) and quiet. But it's EXPENSIVE to rent, and only the top level shows will get that camera for you. The new Arricam's do well too. I haven't flown the Arricam LT yet, but did fly the Arricam ST (studio) in Steadicam mode on the feature I just finished. It's about 1/2 pound lighter than a Moviecam Compact. The only negative I found was that the LT (Lightweight) Steadicam magazines don't work on the Arricam ST. So flying the 1.5 pound heavier ST mags makes the Arricam ST very backheavy. There's only one place to mount your dovetail plate, unless you only tie it down with one screw and it's WAY forward on the camera. This forces you to push the camera way forward on your DonkeyBox (or stage) and also roll your Fore and Aft adjustments nearly as forward as it goes. I called ARRI about this and asked, "why on earth on a brand new camera (not yet 2 years old) would you NOT make the mags interchangeable between the ST and the LT?" After an excuse or so, they told me they have an adapter that will "solve" that problem. But they only had a prototype that they wouldn't give me. Then I asked, "will this adapter sleeve push the mag further back?" I was told, "yes about an inch or so." So, that won't solve the balancing issue, because even though you will be able to lose 1.5 pounds in weight, it'll be pushed further away from the already back heavy camera. Oh, well. I look forward to being able to use the Arricam LT on a job sometime. I was told by a couple of people who have flown it that it flies really nice, and is perfect in weight. Hope that my personal insight helped. Others, I'm sure have more to add.

So, some of you may know, but in November and December of 2003, I was down in San Diego shooting a feature called "Hairy Tale" (well actually reshooting about 35-40% of it because it was...well to be blunt...pretty much horribly done the first time around, don't tell Warner Bros. but because of our time constraits, only a fraction improved this time). The story revolves around a Chimpanzee, Matthew Modine, and a boy he meets. No, this is not a Michael Jackson type story. :P Anyway, one of our shooting days took place at the San Diego zoo. The part of the story there was that Matthew Modine's character takes the Chimp there to leave it in the hands of a zookeeper (played by Tommy Davidson) who is a friend of Matthew's character. (People were trying to steal the chimp so he figured the Zoo was a good safe place for a bit). Well, in the story, the Chimp gets loose and wants to leave. Tommy of course, makes an announcement that a chimp is on the loose, but not to worry. Only to say, "if they only knew how dangerous this chimp can be" while the microphone was still on. This, of course, wreaks havoc in the zoo. People running, the chimp supposedly chasing them. (This is where I nearly got mauled by one of our male Chimp's while in low mode running all over the place doing "chimp vision" and what I call "steadicam held," you know when the director asks for your steadicam shots to be "less steady and a bit more like handheld." That's another story). While doing these shots, I noticed we were never amongst ANY other animals. we were near the entrance of the zoo in a "jungle" like environment. We sent a 2nd unit crew back up to LA to shoot cut away shots of other animals. So curiousity guides me to ask the producer, "why aren't we just shooting the animals here?" His response, "San Diego zoo doesn't want to be affiliated with a story where an animal gets loose." I said, "did you tell them it's a MOVIE and not a documentary?" And he said, "yeah, you know that, I know that, the audience will know that, but they seem to think some people won't." So, off to the LA Zoo we send the "B" Camera Operator to shoot 2nd unit. And lo and behold, I turn on the news last night to see. "Gracie, the chimp, has escaped her compound for the fourth time in less than 4 years. 9,000 people were evacuated from the LA Zoo for safety measures." How absolutely funny is that. I guess the San Diego Zoo people had a point. And I guess the LA Zoo people figured, "well, since it takes place here from time to time, why not portray it in a movie." Anyway, I got a kick out of the irony.

Adjust to what's necessary for you to comfortable and accurately get the shots. I split my drop time right down the middle at 2 1/2 seconds. I don't find tiliting for any lengths of time difficult at all. Since you said you "practiced" at 3 seconds, then felt more comfortable with 2 seconds, go with 2 seconds. If you find you are tilting a lot and your hand gets tired, try 2 1/2 seconds. Every operator is different. Greg Bubb operates with a neutral balanced rig (meaning no drop time) and Brooks Robinson operates with a very fast drop time (about 1 second). You just have to see what's comfortable for you. The question you asked is like asking everyone, "how do you like your seat adjusted when you drive?" It's going to come down to what works best for you.

You said you have an MK-V, but what monitor do you have? You'd have to give Greg Bubb a call to see if his PDL is compatible with other monitors. It might require a modification to work with other monitors. The price is $2,700 I have one with my TB-6 and I love it. I'm a big fan of not having to take your eyes OFF the monitor to "verify" your level. Bubble levels are usually placed just off the viewing area of the monitor, forcing you to look AWAY from the picture for just a split second. And in dark situations, the bubble level is hard to see. As for reliablility, well, Greg Bubb makes it, not much else needs to be said there. Top notch customer service too. Give him a call or email him, he might be able to modify the PDL to work with another monitor (I'm guessing since you asked about the PDL you don't have a TB-6). Good luck

You know what, I missed this! I was splattered in paint most likely anyway (painting the new home) but could of taken an acetone bath and showed up. How was it and who ended up making it? At the wrap party of the feature I finished just before Christmas, one of the female PA's and the 2nd 2nd AD (also a female) apparently went topless, and the PA gave the 2nd 2nd a lap dance. Damn, I always miss the good ones!

I'm supposed to be starting a feature on the 28th of January (just dayplaying) so, if they aren't shooting on Saturday and don't need Steadicam (not sure what the shooting schedule is yet), count me in. Michael

That's strange about the warranty Alec, since the video cameras use a lot more juice than most film cameras. About the Hytron 120's: I don't remember who told me, but someone said that you can't travel (airlines)with batteries over 100 watt hours. Don't know if this is true, but it might be something to verify before buying high watt hour batteries. The only negative about the Proformers is the fact they don't have a battery gauge on them. But, I've found with the vast majority of cameras these days having Volt meters built in, it's easy enough to monitor the batteries power through the camera. With older cameras that don't have power gauges, a volt meter will do the trick, or simply change the batteries out every couple of mags to be safe. No biggie. Like you said at $150 each for 2-3 years of use, you can't go wrong with the Proformers!

You know, upon closer inspection, Brant's hand is actually NOT holding up her shirt. His palm is facing out, as if he's "waving" to the camera. Somebody else must have been holding her shirt down.

How is that hand more important? Had his hand NOT been there, then I think you'd have an arguement as to the "importance" of his hand. But for sheer hand placement, Charles easily got the best in that deal. :lol:

Hytron 50's and the Arri 435 don't mix well. 50 percent of the people who use them say they can't run a 435 to speed, the other 50 percent say they've never had a problem. That's why I had GPI modify the PRO 2 to fit Proformers, and from my sled on they are now made that way. I call it the PRO 2.5 :) Haven't tried the other Lithium's, but hear mixed reviews too (mostly glowing positives however.) I'd stick to the Proformers. A LOT less expensive and unlike the Hytron's AB warranties them for 3 years instead of just 1 year. That alone should tell you something about the Hytrons. The Lithiums are probably great, but at $500+ each, you can get nearly 4 Proformers for that. Good luck.

Charles, Nice hand placement. :D

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Ain't that the truth! And once people start doing that, production will never rent another FIZ for crane or handheld work again, they'll just say, "well we can use the Steadicam Operator's Follow Focus for the crane work" and that just adds one more thing the AC's have to do as you bounce between Steadicam shots and Crane/Handheld shots. Unless, of course, you just buy a second system. Then good luck trying to get an additional rental for it! Budget cuts, budget cuts, budget cuts!

I'll have the cajones to say it...NICE! I'm now going to go see "The Company" just to support Mr. Altman's film! Now if we can just get a few big name actors to say the same, then a few HUGE corporations to speak out against "outsourcing" and get others to follow suit then, we might actually be able to save the film industry in it's "homeland" and save the middle class in America!

As it should be! I personally know of another "manufacturer" who could seriously learn a thing or two by doing this very thing. Would of saved me A LOT of time and some money as well.

Well, I have vest #73 and like everyone else here, I like it quite a bit. However, as Erwin stated, and we've had this conversation on more than one occasion, I truly feel the need to get a front mounted vest again. (I should not have sold mine after I bought the DSD). There's been a couple of occasions where I wish my "footprint" was a bit skinnier. I could basically repeat all the benefits the other operator's have already stated, but I won't. Those benefits with the backmounted vest DO exist. But there's one thing (and I haven't figured out yet whether this is serious yet or not) that I've found that I highly DISLIKE about the backmounted vest. This has been brought up before, and other's with a DSD seem to have experienced it as well. I call it the DSD Leg Tingle! When wearing the vest for any length of time, especially doing a lock off, I've found to have gotten a bit of a leg tingle in my left leg. It's always a very brief (a couple seconds or less) numbing or tingling feeling. I therefore have found myself less appt to stand around with the rig on, for any longer than 30 seconds. Even if it means docking for 10-15 seconds and then picking it back up again, that's what I'll do. The tingling is never major (though have heard of one guy who fell down because his leg went totally numb) and it goes away pretty quickly if I move around a bit, and goes away immediately after docking and relieving the weight off of the body. I've NEVER felt this at any other time other than when I'm wearing the DSD rig and carrying the rig for more than a couple minutes. I never felt it with my front mounted rig. I talked to a physical therapts about it, and he said, it's most likely being caused by the pressure of the vest and the weight of the rig, "pinching" the femoral nerve. So, what long term effects will the pinching of this nerve be on those of us with DSD vests (at least those of us with DSD vest who've experienced this leg tingle), who knows? But, I'd love to have the option of switching back to my front mounted vest from time to time as well. That's it, sorry so long, but I'd love to hear, again, those other operators who've felt the "DSD Leg Tingle" and if you feel it's a concern with the back mounted vest too. Other than that :) I am greatful for the DSD vest and what it has done to relieve pressure off the lower back and increase stamina and decrease fatique in my operating. Michael

Erwin, I was at GPI on Saturday as well. Mark O'Kane showed up for a "how to" on that new system. Marcel was demonstrating it and according to Marcel, they had just finished it that day. Mark was getting it for use in adding a second Preston MDR-2 to his rig. Don't ask, I'll tell you anyway. He said he needs to fly more than 3 motors (in this case to control an Obie light on a dimmer), and according to him he does that quite a bit. He owns two complete 3 motor Preston systems. He was starting "Mr. and Mrs. Smith" on Monday. It was interesting!