Charles Papert

Cheers Cillian: For "Scrubs" we used 7246 (250D) as the primary stock (some flashbacks were shot on reversal and other stocks for the look). The ceiling flo's were all 5600K, and HMI's and daylight Kinoflos were primarily used for additional lighting. In this way no gel was needed for the windows, since the show is shot in a practical (non-functioning) hospital. It also allowed for transitions from exterior to interior without any bother, such as in the extended single shot cold open you referenced. And that was in fact a single shot--we did 27 takes, most of which were a result of Donald not making the 3-point basket at the beginning! I recall that the worst part for me was the 3 whip pans at the very end. Take 26th was my best; I made it through the first two whips looking good, and then the monitor battery warning starting flashing--just before the home stretch, the monitor went out. I performed the end of the shot completely blind, but of course we had to do another. Watching the dailies of that take proved that "using the force" is possible (and maybe even preferable!) as I was perfectly satisfied with the blind framing! However, the performances were better in the final take, although I hated the first two whip pans.

I believe you can cut down the side of the handgrip, losing one finger's hold to accomodate that bracket. I used the heavy duty velcro-type fastener (the clear plastic version that is the same on both sides) rather than the adhesive to attach the handgrip, so you can simply remove it when using the Microforce bracket.

I sort of thought this might be the case, even with permission from producers. Even if someone did squawk, I'm sure (I hope!) all the lawyers would do would be to dash off a "cease and desist" rather than issue a suit. Then it's just a matter of changing out the music on the reel. Out of curiosity, is everyone cutting their reels at home (or at a friend's), i.e. instead of having to go to a edit house like the old days? Man, has that changed things. I used to dread having to pull favors and cut corners and save up footage, updating the reel every few years. Now it's almost too easy. Thank you, FCP!

It's a good question, Afton. I tend to use music from the actual film along with the footage, reasoning that the artist was originally compensated for that particular project. For the montages on my reels, I've been using Apple's Soundtrack app to create custom (and cleared) tracks. Strictly speaking, creating a demo reel is "unauthorized duplication" of the footage to begin with. As you pointed out, it's accepted within the industry. I've yet to hear of any squawking about this.

Wow, thats...almost creepy! BTW, the tripod usually works better with the legs extended...sorry, couldn't resist... Incidentally, I used to ply my trade around Boston (I'm a Brookline boy) started in the biz there in the 80's and was doing a lot of shooting and operating Steadicam in the 90's. Thanks for the correction on Marc's nomination, I guess either I forgot that or didn't know it.

I agree, however lest anyone fear the worst, I can at least report that the operator is thankfully still with us and was in fact able to walk out of the emergency room.

Thanks Afton, glad you are enjoying the DVD's! The only Emmy nom 1st season was for casting. I agreed with many that "My Old Lady" should have been nominated. Director Marc Buckland is extremely talented and came up with some really brilliant shots in first and second seasons (I left the show after season 2 and current op Rich Davis took over). Marc had me make a cameo once...check out "My Blind Date" (switch on the commentary track with Zach and Bill)...! I had a great time on that show; it was a really fun environment, lots of laughs. And the camera was an Aaton 16, so not too punishing to fly every day! Although it did require a bit more attention going around corners--lack of inertia etc. And our man BJ was toiling in the grip department back then--BJ, I remember you coming up and asking me what kind of rig you should buy. And just look at you now! You're all grows up!

mmm...rggg...1992. yes, I remember that conversation, Alec; it was during recess--I was in 6th grade, you were in 4th grade, right??!!

Ian: When I first encountered the Alien, I thought along similar lines--great, now anyone out of a workshop can make "perfect" shots after I spent all those years working on those skills. But really, horizon control is a nuts and bolts skill, not a creative one. If you consider all the nuances of framing (pan and tilt) combined with the myriad of choices of positioning and moving the rig through space, let alone the intricacies of shot design, working with actors etc...it's pretty clear that just by eliminating the issues of roll, a "newbie" is still going to be turning in newbie shots--they just won't have any yaw in them. Personally, I think eliminating that one factor will create a nice vacancy in the attention cycle that can be filled with more finesse in other areas. I'd love to have an EKG running on me during a shot that has whip pans--a good 5 seconds before, the needles would start jumping as I'd be mentally preparing for the upcoming event, with a big spike right at the pan as the brain is screaming "clamp down! release! light clamp down!" followed by either a mental celebration or a howl of dismay, which would have to get flushed out quickly as the shot continues and the attention must return to all of the other things to do. Sure, it's a little disappointing to think that one's legacy of shots will become less impressive as this technology becomes more common; but imagine what it must be like in this era of CGI to have been a modelmaker or creature builder or matte painter or motion control cameraman--jobs that are in varying stages of outright obsoletion!

Job, your penguin avatar seems to perfectly illustrate this skirmish.

I've heard of Jim showing up on set minutes BEFORE a BFD is dropped, with replacement parts in hand. Interestingly, it was always just before lunch was called. Coincidence? You make the call.

Yeah, but see, Ron, the shot was great and of course I'd hire you again. Maybe not to do Steadicam, of course, but my crawl space needs to be cleaned out. See you at the Home Depot parking lot.

That's pretty interesting, Jennifer--what do you plan to do with the story when it's done? Also--the examples you describe would make for bad work conditions or extreme challenges, but do you want to hear about the operator struggling against the odds and succeeding in some way (this forum is full of such stories) or actually failing in the face of adversity (only a brave few dare admit their losses)?! Perhaps we could start a new folder: "Jobs I've been fired from and it was my fault"...on second thought, it might turn out to be a skinny folder.

If the shoots are spread out in such a way that they can generate the website within that period, that would obviously be a lot better. Even with the best of intentions, they might find themselves getting busy with "paid" work and delaying the finish work on your website--then there's always the possibility of grumbling about implementing your changes, etc. It's obviously useful to have the final shoot as a bargaining tool for them to get their side of the bargain done in a a timely fashion. Just remember that your shoots will be completed in a measured amount of time, whereas the website is likely to be built in fits and starts. I would examine closely with them the parameters of the site ahead of time so that you can both be assured of the contents, to avoid any "we didn't agree on this" issues down the road. And have it all in writing.

Digital Imaging Technician. Relatively new term.

He's at Tiffen: (818) 843-4600 x17.

Sounds great Eric, can you post some pictures of the system? Perhaps even mounted on your sled (for scale)? Interested in the interface--playback/fast forward/rewind buttons etc. Also please include pictures of the on-screen menu, clip selection etc.

Baldwin: It's "soire". Those damn French, they have a different word for everything. hugs, Papert

I did two months on a series about 9 years ago with either a Platinum or Gold conversion, can't remember which now. 3A sled and arm, which needed to be held up for about 5 lbs worth of overload. Day in and out, all kinds of shots including a flat-out run in a rutted, weedy field with direction changes. I finished the show limping; made my right ankle "funny" and it took several years before the sensation went away. Not worth it. Steer clear, chaps.

Hope you got it all squared away, Mik. For anyone reading this thread and needing a setup like this, I have the Preston Gimbal Microforce that I rent out to other ops. It works with a Preston (or compatible) motor, or can connect directly to a Canon or Fuji video zoom. When used with a Preston motor, you can avoid that "dead man's zone" typical of video lenses where it doesn't respond to pressure immediately.

Any real or imaginary unicyclists out there?

Where would the LA Steadicam contingent be without fossil fuels? (guess we'll find out in a few years). I have to know, Ron--exactly how much does it cost to fill up your Hummer these days? I should talk--my A6 is a thirsty beast in its own right. At least Dave Chameides is laughing all the way to the frying pan...he's driving a van that he has converted to run on cooking oil. No, I'm not kidding.

Hi George: For a newbie, you have quite a few different projects on your reel! How long have you been operating, how long have you had your rig? I'm going to try a different approach here than I usually do when asked for feedback on a reel. How do YOU feel about it? What do you think are your strengths/weaknesses? What do you think you need to work on? best, Chas

It sounds great, and it's truthfully been a while since I've felt your Doritos-tinged breath on the back of my neck (ah, those long summer nights...OK, I think we should drop this gag before some operator in the former Szdofistan Republic gets the wrong idea about us), but we are moving back into the aforementioned money pit that weekend. Master suite will be all but complete, rest of house still full-on construction zone. It'll be a long couple of months. Looking glorious though. Selling off camera gear like ballast being thrown out of a sinking rowboat.

Ron, for some reason that story sounds like the first paragraph of a Penthouse Forum letter..."I never thought it would happen to me but" etc... You and Jeff broken down in the middle of nowhere; that's H-O-T, dude.