ericoh

Thanks Charles, much obliged. e

Hi Guys, After 9 years of flying Tiffen, I've finally bought a Pro Arm, XCS Ultimate 2 (boy I'm stoked!). Anyway, I purchased the Nebtek SolarHD 7SC and am looking for a mounting solution. I've got Greg's telescoping monitor arm, but I need the mount that will mate with the spud on the XCS monitor arm. What are you guys using? Any suggestions please? thanks, Eric

Hi Lars, You can try Walter Klassen as well. I know Jeremy Benning and Bryan Trieb had posts made for their PRO arms with Walter. Jeremy had his posts made so you could either use them with a Masters' sled or his own XCS. One end fit the Masters' and the other fit the XCS. Jeremy also had posts of different lengths made. I'm sure its not a problem for Walter to make a long post for your G50. Walter's number is +1.416.778.7848. Shipping might be a little cheaper as we are a little closer to Norway than LA is. Failing that, maybe a local machinist in your home town? good luck, eric

Klassen FX is definitely a Klass act. I also have had the same problem with the bruised hip as Alec has. Both Walter and Kornel have been extremely helpful. Walter not only gave me several different foam padding configuratrions but he has also loaned me a harness with the double ratchets for over 2 months now to see if it would help alleviate the pressure. I too like Alec need more fat! His customer service is the best, and its great that he lives only 7 minutes from me! Most of us Canadians have to send gear to the States to get it serviced/repaired so its nice to have some one like Walter so close to adjust something as important as the harness. Much thanks Walter (and Kornel, Jennifer, Taku and everybody working there).

Hi Will, For the Preston, you can get a secondary iris controller pod. It comes with a 10' cable that plugs into the bottom of the handunit and therby overiding the iris control on the handunit. That way the DP (or Gaffer) can be pulling iris remotely. I have this accessory and it has been a hit with DP's that like to ride the iris themselves. Best, Eric

Yes, Saran wrap being the brand. The perspex peice is a great idea. I just use the plastic cover from my Harrison monitor cover.

Hi Greg, I use the Harrison rain covers for my Masters' rig but I find that they aren't very good (especially the monitor cover). What I (and other ops I've spoken to) find effective is Saran wrap (or any equivalent brand). You can wrap it around your rig tightly, and is quite water proof. I still use the Harrison rain cover but only for the bottom part of my rig, and my Masters' arm. For the monitor, I use Saran wrap, and the top stage is usually covered by the camera cover (Clear garbage bags works better than any rain cover I have used). The other alternative is to buy some Goretex-like material and get a seamstress to make you some custom rain covers. Best, Eric

Masters' Lightweight Vest in excellent condition. Vest has the newer style buckles. Included in the sale are: - Masters' Lightweight Vest with new buckles - 2 extra buckles (new style) - 6 extra buckles (old style) Asking US$2200. Email me if you have any questions. Eric Oh eric-oh@rogers.com EDIT: Forgot to mention that FedEx economy ground shipping within Canada/US will be included with purchase price.

Hi David, I'll see you at Walter's as I live 5 minutes from his place, and I'm sure that Jeremy will come out as well as Jennifer emailed us about your visit. By the way, I have Traditional Deluxe #136.

Hi Everyone, I know it has been discussed ad naseum, but here's another perspective on runaway productions. This was sent out by my camera union, IATSE Local 667. Just food for thought... - Eric This article is about the Neil Craig Report, which was commissioned by FilmOntario to set the record straight on incorrect statistics regarding Canadian production levels that are often cited by anti-runawayproduction groups. This report probably should have been done years ago, but considering that ?runaway? production rhetoric is still coming from the U.S., this is as good a time as any for this information. As other U.S. states implement tax credits of their own, (42 states as of last week) the attention is focusing within the U.S. This report will help minimize the ?blame Canada? syndrome. - Rick Perotto, Business Representative, IATSE Local 667 STUDY SHOOTS DOWN RUNAWAY GRIPES October 25th, 2004: It turns out that production in L.A. may not be destined to collapse at the hands of Canadian service producers, as some Americans have been griping since the release of the 1999 Monitor Report. Commissioned by the Screen Actors Guild and the Directors Guild of America, the Monitor Report has been held up as a bible by anti-runaway activists in the effort to keep productions in the U.S. But a new Canadian-commissioned study, International Film and Television Production in Canada: Setting the record straight about U.S. "runaway" production, claims that figures in the Monitor Report are erroneous. It also stresses that Canadians spend far more money on Hollywood fare than Americans spend shooting in Canada. The CFTPA, the Directors Guild of Canada, ACTRA Toronto, IATSE 873, the Quebec technicians union SCTVQ and lobby group FilmOntario financed the study. It was prepared by Gary Neil of Neil Craig Associates. The Neil Craig Report finds that the Monitor Report "contains contradictory claims and basic arithmetic errors, double counts figures and uses methodologies that are highly unusual in standard economic analysis." It also states "employment in the U.S. film and television production industry has actually increased by 6.6% since 1998," despite American claims of significant job losses from runaway production. The Monitor Report claims that runaway production had a negative effect on the American industry to the tune of US$10.3 billion in 1998. By comparison, the new Canadian report suggests that number was closer to US$1.7 billion. In addition, the study stresses that in 2003 alone, US$$1.3 billion left Canada for Hollywood through cinema admissions, sales, DVD and videocassette rentals, and broadcast licence fees. Between 1998 and 2003, the U.S. saw a positive balance of trade of US$1 billion when Canadian spending on U.S. film and television imports is compared to the volume of U.S. productions shooting in Canada, according to the Craig report. Patrick Whitley, cochair of FilmOntario and president of Toronto's Dufferin Gate Productions, which produces dramas in Canada for Showtime, including Canadian/U.S.-hybrid Queer as Folk, says that people in front of and behind the camera in L.A. are increasingly deciding against shooting in Canada because of the current lobby against runaway production. "I am starting to see a groundswell of support for keeping production in the U.S.," says Whitley, explaining why the report was needed. However, considering other factors that are affecting the volume of production in Canada, the study could be coming a little late in the game. "I thought it was a very solid report and something I wish we had done a little earlier," says Whitley. "The reality out there right now is that there are other things causing people to reconsider shooting in Canada - i.e. the dollar." The Canadian dollar has been drifting around US$0.80, a mark the Canadian industry has always viewed as having dire consequences for production in Canada. Despite such concerns, Whitley believes that the amount of money Canadians spend on U.S. entertainment is an important consideration. "Look at the billions of dollars worth of American product that we consume in this country," says Whitley. "I believe we have a right to be part of the manufacturing of that product." The Craig report also stresses that Monitor "ignores the increasingly global nature of movie production and the growing importance of foreign markets to the U.S. industry," and points to 42 U.S. states currently offering some kind of incentive to lure production away from Hollywood. Brent Swift, who heads up American anti-runaway production lobby group the Film and Television Action Committee, says that dollars funneled back into the U.S. from what Canadians spend on American entertainment are simply not part of the runaway production equation. While at press time Swift had yet to get his hands on the report, his contention remains that Canadian subsidies are a breach of U.S. trade regulations and NAFTA. Swift goes on to say that incentives within the U.S. are not part of the runaway equation either. "[Canadian provinces] can fight each other for movies and [u.S. states] can fight each other for movies. That's one thing, but it's different when you're talking about national governments and crossing borders." While he admits that multinational corporate strategies that have seen studios replace five or six films with one bigbudget movie full of major stars has impacted job loss in L.A., Swift maintains that the majority of jobs are lost to runaway production. While the rise in the Canadian dollar helps the employment situation, Swift says it is not enough to combat jobs lost to Canadian subsidies such as tax credits. Susan Murdoch, VP of Toronto prodco Pebblehut Too, says FTAC's response to the new study comes as no surprise. "I don't think we ever expected the study was going to sway anyone from FTAC. Their argument is strictly based on employment in the Los Angeles area, and it's a very narrow focus," she says. "You have to look at the entire picture. Canada has always been in the position of being in an enormous trade deficit with the United States in terms of entertainment and cultural product and it is a very valid consideration because we're not only talking about the production side of the industry, but the sales and distribution side as well." While Canada represents a small portion of the U.S.'s ultimate audience, so small in fact that American distributors lump Canada into their North American market, Murdoch contends it is an important territory because of its stability. "Safe markets are as useful in the grand scheme of things as extremely lucrative markets because you always know they're there," she says.

Hi everyone, My MS vest is still for sale as the last buyer changed their mind. The vest is in excellent condition and has the newer "Ultra-style" buckles. I will include 2 spare buckles and all of the 6 older style buckles. Asking US$2300. Email me for additional pictures. Cheers, Eric echo-productions@rogers.com

I have a MS/Ultra lightweight style vest for sale. In excellent condition, with 2 spare ratcheting buckles. I will also include 6 of the older style buckles. Vest comes with socket block. Asking US$2300. You can email me with any further inquries. Cheers, Eric Oh Edited by ericoh Aug. 25, 2004: The vest has been sold.

Hi Alec, Those Duluth knee pads look comfortable. However, they seem to be more for people working on their knees as opposed to pads that protect your knees from a fall/impact. Not to say that they won't work. The knee pads I use are roller blading knee pads which are made specifically for falls/impact. The first layer is a layer of neoprene that cradles my knee with a hole cut-out for the patella, creating an "air-gap" (for the lack of a better word) between the 1st and 2nd layer. The next (2nd) layer is also padded with shock-absorbing "nipples/bumps" on the inside. The third and final layer is the outer layer which is made from hard plastic. There is also an "air-gap" between the 3rd and 2nd layer. I guess the theory is that should you fall, your knees will not get any impact on them due to the "gaps". I don't know if I've confused you with my descriptions. Anyway, they are made by Rollerblade. Like you I sometimes wear soft knee pads inside my rollerblade ones. Depends on the situation. Best, Eric

I'll "third" them. My low-ankle hiking cross-trainers are made by Marrell as well.

Hi everyone, I'm currently selling some custom made Portabrace cases for the Sony Video Walkmen. Here is the listing on eBay... http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...MESSE%3AIT&rd=1 I have 5 available, but 2 may be spoken for already. Any questions, feel free to contact me. Thanks. Eric 1.416.877.3742