Brian Dzyak

Yes, I have seen the East Coast/Central Region contract for EPK that specifically leaves out the West Coast. LA Reps HAVE frequently been called about non-union Cameramen AND union (600) Cameramen on LA shows, but the Reps have either refused to do anything about it or they just don't show up at all. Studios and Vendors almost always insist that the hired Behind the Scenes Videographers hold Local 600 cards to placate the union crews who are led to believe that we work under a contract. But we don't. We pay dues and take the safety courses, but the card is merely a ticket to ride the ride. LA EPK crews do NOT have a contract and earn zero hours toward benefits. So it doesn't matter what the new rules are. Behind the Scenes Local 600 members in LA have been written off by IATSE. The only way we could ever hope to earn enough qualifying hours is to work an entire show like the normal crew, but the union refuses to create a contract that would cover the "everyday" EPK crew. For the sporadic BTS crew, we don't get enough days in six months that could possibly count in order to qualify anyway, so being repped by Local 600 is essentially pointless. We get jobs because we have cards, but that's it, all with the blessing of our own Local who we pay money to. That's what goes on in LA.

It's too bad us lowly EPK MEMBERS aren't covered by any contract on the West Coast anyway. So...300, 400, what's the difference? <_< Hell, make it a million hours.

For Sale: Steadicam ProVid Package ProVid Sled (Monitor stage and top stage) ProVid Arm (with socket block upgrade) ProVid Vest (with socket block upgrade) All standard accessories (C-stand, docking bracket, allen wrenches, thin BNC cables, camera power cable, power splitter cable, standard "cheese plate," long "cheese plate" ) PLUS! Rain protection (for sled, monitor, arm), Hoodman for monitor, "Sony F900" quick release type plate, Low Mode hardware. AND... Stanton Follow Focus/Zoom Control for Steadicam with Canon and Fuji gears and cable adaptors. PACKED in one large Pelican rolling case (heavy but convenient!) Entire package valued at $18,000 USD. Will entertain reasonable offers. Item is in Encino, California, 91316. Here are some pictures of the rig in action! Shooting in LA for Travel Channel's, Art Attack http://www.dzyak.com/coldsteel.jpg http://www.dzyak.com/art-attack.jpg http://www.dzyak.com/nortonsimon.jpg http://www.dzyak.com/artattackscreenblast.rm (see it in action!) In England shooting "The Spirit of Dubai" for Nakheel http://www.dzyak.com/sunset2.jpg http://www.dzyak.com/sunset1copy3.jpg http://www.dzyak.com/steadimanal.jpg http://www.dzyak.com/steadilook.jpg In Dubai shooting "The Spirit of Dubai" for Nakheel http://www.dzyak.com/palmboat.jpg http://www.dzyak.com/palmboat2.jpg In Portland shooting the 2008 Hood-to-Coast relay http://www.dzyak.com/hoodsteadi.jpg In LA shooting a promo for Nestle http://www.dzyak.com/nestle.jpg Contact me at brian@dzyak.com with any questions or offers. Thank you!

My book has a detailed description of what "on set" life is like for everyone (including standard income and expenses) PLUS an entire section just about the Camera Department PLUS a full chapter just about the Camera Operator. Go to: http://www.amazon.com/What-Really-Want-Set...5862&sr=8-1

I've been trying to call Tiffen in Burbank for a few days now, but there is no answer at all. No recording. It just rings and rings. :( I'm calling (818)563-6475. Is there another number? :unsure:

You have to understand that those who were brought up purely in the "Hollywood" feature/episodic system, an Operator hasn't yet moved up to DP level and there is an assumption that he/she really doesn't know how to light yet. For most of us who grew up and began our careers outside of Los Angeles, learning to light and operate (and edit and even direct and produce) is part of the learning process. The Hollywood system is terribly specialized to the point where it is extraordinarily easy to become pigeonholed. Moving up the ladder is NOT a given for anyone no matter what they can do. I've been able to create a career as Cameraman who also operates a Steadicam when that particular tool is useful for the job at hand. Market yourself as a Lighting Cameraman/DP/Videographer/whatever FIRST and then toss in the Steadicam info only when it's pertinent. Otherwise, that's all they'll ever see you as.

Hmm, good question. It's all about how you feel about the work you do. There's the "work" (pushing equipment around, pulling focus, all the technical stuff, etc). Then there are the questions about the content you're doing all of that for. You have to feel good about that too. We all have our "issues" that we may feel strongly about one way or the other. For instance, if you just can't support the Republican agenda, then pulling focus for a McCain commercial just because it's work probably wouldn't be the best choice. The same standard can be applied to porn, violence, racism, sexism, or any other topic that could be considered marginal. Work is work and we all need money to survive. That's the unfortunate part of show "business." But you can't sell out your own beliefs either just for a quick buck if it's going to bother you on an emotional level while you're there and later when you're cashing the check. So do what's right for you. There are always more jobs out there, but you can never take back time you've spent on something you didn't want to do.

I had an F900R on my ProVid two weeks ago and meant to weigh it but forgot. :( Sorry! But my arm can't hold more than the R so you probably won't have too much trouble. The 900/3 is too heavy. Just make sure that it has the internal downconvert board if you're going to a SD monitor and/or Modulus. Not all of the Rs have 'em.

This topic was posted 3 years ago but to users that have this issue there are a couple of solutions. I own a provid sled and I love the high contrast crt green screen that was part of the original design of the Provid model. But for HD jobs or when working with a lot of the lens adapters which invert the image I bought a 1.5" monitor bracket that has adjustable Rods. This allowed me to keep the crt for use on sunny days and with film video taps, but have the flexibility to maintain Dynamic Balance with the rig. Another operator in Canada named Jeff cools actually rewired the sled removed the built in crt and repaced it with the same mounting hardware with a 16x9 Marshall HD monitor. One way or another I would suggest keeping the original CRT and buying a monitor bracket (Sachtler Artemis has a good one) unless you work only in HD all the time! Brandon Brandon, Could you post a couple of photos so we can see how you mounted the brackets? Thanks! Brian

Seriously? ProVid. I feel discriminated against. I thought Lincoln did away with that kind of bs. :blink:

I'm trying to view your pix, but get a message saying that I'm not allowed to. :unsure:

Hey all. I've got a four day (night really) job coming up next week and I need to rent (or buy) a Modulus that I can power from my ProVid. Any leads appreciated. Thank you!

Yeah, that sounds fishy/non-sportmanlike. If you have the job via the DP or Director (anyone who ISN'T the First AC), then I'd politely decline the opportunity to give him half the rental on the gear you bought and paid for. If the First AC was instrumental in getting you the job, it amounts to borderline extortion and I'd at least hesitate before handing over half the rental of equipment you bought and paid for. I mean, what's next? If the First AC has a full Steadicam Rig and gets you a job and insists that you use HIS rig on that day so he can get the rental? In my opinion (for what it's worth), you're there to provide a service and that's what you're getting paid for. What you use to provide that service is specialty equipment that comes along with you, therefore you are entitled to the "income" from the rental price for its use no matter who actually uses it.

I've done a couple for friends and family. Trapped usually: "Hey, since you're coming anyway...." :blink: Once I did one for money. A studio executive got married up in Napa and they wanted it shot with a real camera. The priest made a point of saying in his sermon that a marriage isn't a movie while looking right at me. The drive up and back was nice. And the check came. But no more weddings for me. blah. Stupid waste of time.

Brian, I spoke with Stanton about an hour ago and they again warned me about taking the controller apart. Did you have trouble putting it back together? There are some hex screws on the side and a couple of philips screws at the top near the connector. Which ones did you take out? colin Unfortunately mine is locked up and I won't have a chance to look at it until this weekend...but if I'm remembering this right, I believe that the two screws (allens if I remember right) on the side are the ones which allow you to pull the top piece off. I think they are just tension screws. Really small, so be careful as you loosen them. Once the top is loose enough, you should be able to pull it out, though it probably takes a small flathead to pry it up. I know they recommend not doing this, but because of their shoddy design, there really isn't any choice. If you don't and continue to plug that cable in, the danger is that the connections themselves will come apart and then it's gone from a screw fix to a sauder job. If you can hold off til Saturday afternoon, I'll have the chance to take a look, but I'm pretty sure that it's the two set screws on the side. I'll be working most of Friday and Saturday, but give me a call if you need to. 818-326-3728