Brad Grimmett

I saw it on the Cinematography Forum. Tim Tyler posted it here.

The SOC is giving Larry an award. This is from their press release. Congrats Larry! "SOC also pays an annual tribute to a camera operator who created a memorable shot that made a significant and enduring contribution to advancing the art of filmmaking. Larry McConkey, SOC will receive the 2004 Historical Shot honors for an extraordinary Steadicam shot in Goodfellas, an award-winning 1990 feature film directed by Martin Scorsese and photographed by Michael Ballhaus, ASC. The Steadicam shot follows Ray Liotta and Lorraine Bracco, portraying Henry and Karen Hill, as they enter the Copacabana through a back door. McConkey stays with the couple as they move through the kitchen with employees and patrons reaching out to greet Henry as the couple makes their way into the nightclub. The shot lasts several minutes until the Hills reach their destination at a table that has been set up for them next to the stage."

Yes! It was! Damn dirty ape!

Recently I've started holding the cables in my hand along with the gimbal, and I stuff them in the back of my vest as a strain relief. I used to just let them hang behind the camera, but I've found that holding them in my gimbal hand keeps them from swinging around as much. It seems like a hinderance at first, but once the shot begins I forget they're there. This particular solution probably won't work for everybody, but I've got fairly big hands, and its worked pretty well so far. Give it a try.

David, Thanks again for setting that up. I had a great time chatting with everyone after the screening, and the film was quite good as well. Charles did a great job as always!

Nope, still doesn't work. It won't even let me click on it.

David, The tech tips link on the website isn't working. Just thought I'd let you know. All the rest of the links seem to be working fine.

Using a doorway dolly might work. That leaves the speed of the move up to the dolly grip, as well as making sure that you stay the same distance from the actors. It also would allow the operator to concentrate more on the framing and be more accurate. Just a thought. I've never had to do that kind of matching shot, but I think I would at least try the doorway dolly first. Good luck!

You should email David Grove about all that stuff. Check out the Steadicam Guild and contact him through there. He's got all the info you need.

Nicolas, Speaking of drinks.....David Grove has organized a Steadicam Guild function for next Sunday to watch "Mr. 3000" and have drinks and/or food afterward. You should join the guild and join us at the get together. Believe me, you'll enjoy that much more than just drinking with me! Those guys are much more fun than I am!

Nicolas, As you know, I was the guy who replaced you on that job. Of course, I had no idea what your experiences were previous to my agreeing to come in on the job, otherwise I may have said no. My experience (luckily) was not quite as bad as yours, but I certainly know where you're coming from. At the end of the first day the director tells me that they only need me for an hour or two on the second day, and gives me a look that seems to ask, "So will you give me a break on the rate for tommorrow?" I stand there and wait for him to say something else, and after an uncomfortable few seconds I say, "Um, ok, so I guess I'll have a short day tommorrow." He says, "Can you help me out on the rate tommorrow since you'll only be working a short time?" Well, I thought about this and considered the fact that he'd let you go with no warning (and for no real reason according the the A.C.'s) and of course I didn't want the same thing to happen to me, so I said, "Fine, but you have to give me a check at the end of the job, and if I'm here for more than two hours tommorrow the rate will go back to normal." He agreed, and we finished the day. I asked the DP about the next day and he told me that they had a location move a couple of hours into the day, and they didn't need me at the other location, so he thought that I'd be out of there very quickly. He also reassured me that I wouldn't be getting any late night calls like what happened to you (Of course the director still could have done it, but at least the DP didn't think he would). The next day, surprisingly, was exactly as he said. I worked for less than two hours, got my check, and left. Less than a week after the job I got a call from the 1st A.C. asking if I'd been paid for the job and telling me what happened to all the footage. He was worried about not getting paid, and apparently he had good reason to worry. I'm assuming he's in the same situation as you. I'm sorry to hear about the situation. I felt bad for you on the day we met because it seemed that no one knew why you had been let go, and it was an uncomfortable situation for both you and I. I hope you manage to get your check, although that may be very tough. Good luck.

They very recently re-located to Glendale. I doubt the website being down has anything to do with their move.

I've always believed the same to be true about titanium snapping but not bending. Are the springs possibly made of some kind of blend of titanium and other metals?

Robert Luna's # is: 323-938-5659. Nice guy that does great work. Good luck.

Sounds cool. Hopefully I'll be able to make it.

Chas, Here's some info I found that might help if he doesn't find a used charger. PAG USA 10663 Burbank Boulevard North Hollywood CA 91601 Telephone +1 818 760 8265 Fax +1 818 760 8805 E-Mail pagusa@aol.com Website www.pagusa.com Contact Steven Manios Jnr.

Rob's # is 323-938-5659.

Since we're posting funny links......if you'd like to see some funny commercials go here. Enjoy.

I know Jim Bartell has been working on a zoom control called BUZ as well, so there are a lot more options out there now than there used to be.

Having a long cable wouldn't really hinder them that much. You can run thousands of feet of triax without worry, and you just need a couple of cable pullers to deal with it. Wouldn't be hard at all, or risky either.

I think Letterman is taped at like 6pm I believe, so it certainly COULD have been live. The one thing that strikes me, and makes me think that this was pre-recorded, is that the steadicam did not lead them onto the stage. They cut to the wide shot before the guys come out on stage. If the steadicam had led them out onto the stage and then they had cut to another camera it would have certainly made it look like it was live, whether it was or not. Either way, it's a great shot. I'm wondering whether it was don juan or not.

You a big Beastie Boys fan Chas, or just a fan of that shot?

I can't comment on the AB recelling situation since I don't use them, but I will say that Victory Battery has done good work for me recelling my batteries. Inexpensive and trustworthy....can't beat it.

Sometimes I have trouble finding my framelines too. Just keep going from top to side to bottom to side, etc..... and then turning the other knob until you see one of them come onto the screen. Not sure why it's like this, but if you just keep trying them you'll find them pretty quickly. It never takes me more than a minute to get things straight. I don't think you have to worry about getting any repairs done. Good luck.

Thanks for all the great advice guys. Very helpful as always. But, as expected, the producer is getting a downconverter. Hey! A producer that actually listened to me!!! A rare occurence for sure! I spoke to him today and as I started explaining that it really was a necessary piece of equipment he cut me off and said, "Don't worry, I decided to get a downconverter after we talked the other day." So now I'm happy. If I could just get the rate a little higher..... Lately I feel like I'd rather be strung up on a rack than talk to a producer about money or equipment. I've been hearing this statement too much lately...."Well, I talked to (insert another operators name here) and he/she said they'd do it for less."