Charles Papert

That's very nice of you--thanks for the kind words. Since that DP reel went up I have a bunch more DV footage, having purchased a Mini35 setup and done a series of commercials and short films with it (here's a couple of examples). Also I'm shooting an HD feature right now--that's a whole different experience... http://homepage.mac.com/chupap/Film/iMovieTheater32.html

Damn you and your eagle eyes, Abernathy! Didja ever see my deliberate on-camera appearance with the rig in "Big Fat Liar"...?

I don't think weight will be a problem for a big rig as you are presumably using a Mini35 adaptor for the DV cameras, plus the 10+ lbs of the Elites will bring you up to at least a 25 lb camera weight, similar to a good size ENG camera or loaded 16mm setup. There is no good low-mode accessory for the Mini35 currently available, although I am working with the factory to develop one. In the meantime, you can always invert the rig, shoot with the camera upside-down and simply flop the image right-side up in post (I've done that many times, it works fine).

Here's a scenario you can try: Ask her if the production had a camera rented from a reputable camera house, and the footage came back scratched, would they pay for the camera rental or insist on a credit? Of course, she would say the latter, that's pretty standard. Now ask, what if after the rental house had agreed to this, the lab called and admitted fault with the scratch--would she then call the rental house back and say "turns out you guys weren't at fault so we'll pay for the camera rental after all?". She may actually cop to this (which of course is totally sleazy, but that's hardly an exception with low budget UPM's), or may not, but it doesn't really matter because chances are SHE knows that she wouldn't make that call. Now you can point out that if this happened with your camera, she would have to pay you the rental (because you'd find out about the lab admitting fault sooner or later, although you don't have to point this out). And sadly, this is based on something that happened to me--the UPM expressed frustration right to my face that she couldn't screw me like she could screw the rental house. Lovely way to conduct business.

Lucky you, Jeff...Melbourne was one of the high points for me and the gal on a trip to Aus/NZ earlier this year. Lovely city. My cousin Johnny is something of a local celeb, being a star pro cricketer there, I'm sure he'd be delighted to show around one of my "mates". Let me know.

I would use a longer arm post rather than extending the rig (takes too long), and also adjust the fore-and-aft balance as Rob suggested so that the rig naturally sits with the proper headroom, so you don't have to use any force to hold the rig at the correctly angle. Most operators adjust the fore-and-aft just before rolling the camera on every shot,.

I'm not following this--are you saying that you are seeing vibration through the rig when shooting high speed? Erratic movements will usually smooth at with high speed shots as a bump will turn into a slow rise and fall. What I find is usually more of an issue is that any kind of operating or framing error followed by a correction stretches out until eternity with high speed. Also, brief focus buzzes that normally would be forgiveable now are distracting.

It's not easy to get the DVX100a (or any 1/3" type DV camera, for that matter) to shoot out of focus! You need to be zoomed to the equivalent of at least 100mm (35 format), wide open and having to rack from a few feet away to the background to start to "need" a follow focus, for better or worse. Not to say it isn't useful--it just isn't THAT much of a necessity in this format.

Umm...gardening shears? If you can't get away with simply cutting the cables, you could always just threaten the DP with them. (p.s. Stephen, I've always wanted to ask--you aren't a monk, by any chance? Between what appears to be the hooded robe, the clean-shaven head, beautific smile and bucolic surroundings...seriously, it's a good look. Obviously better than mine, as evidenced by my hiding behind a cartoon avatar!)

That would explain the cute little dimples imprinted into the picture frame. Very nice.

I'll have to go through the archives, see what I can dig up. I shot a couple of rolls for Ted to use for his promotional brochure (that might be a good item to scan, I'll look into it). I gave him the negatives but I might have a few prints around also.

Somewhat off-topic, but if anyone is planning a Mini35 shoot with their DVX-100's, I own the Mini35 setup for that camera and do rent it to trustworthy individuals (you supply the PL lenses though). Fantastic looking images.

TJ, you might have seen that on IMDB--the cast of characters you listed (including myself) worked on the show at various times after the first season, but they only show the first year it was on, '94. I think it safe to say that Guy brought a mentality and skill set to the table that inspired the directors to be more aggressive with the Steadicam, as opposed to trying to keep it simple to get through the day. The big players on that show were/are: Guy Bee (seasons 1-2) Dave Chameides (3-5) Terrence Nightingall (6-present) There's been a little pile of us who have day- and week-played over the years, in addition to those listed (I should correct Drummond to Brummond on Bill's behalf), Tommy Lohman and the ubiqutious Ron Baldwin. There was an interesting stylistic progression through the years, in that the skill and stamina of Guy and Dave allowed the boundaries to be pushed to the point where the camera hardly stopped moving. Eventually the producers realized that doing endless roundy-rounds of a quiet dialogue scene was overkill and the Steadicam was toned down a bit. Terrence has, delightfully, laid down the law of good sense over his tenure and the Steadicam is only used when needed; as soon as reverse coverage is up the dolly is wheeled in automatically and the dreaded "let's just keep it on Steadicam--y'know, for the look" phrase is rarely, if ever, heard. They are also using a custom Vidstick arrangement with transmitter, so that "suiting up" is only necessary for possibly the last runthrough (which often morphs into "shoot the rehearsal!"

Hi, I'm posting on behalf of Terrance Nightingall over at "ER". One of his single place PAG chargers just bailed on him and he's going to Chicago tomorrow to shoot location work for the show. If someone has one to sell, please call Rich (2nd AC) at 818-679-0968 right away. Terrance is using the PRO 1 batteries and has the adaptor cable, so he doesn't need a charger with a cradle on top or anything. Thanks!

Well there you go, gents! Thanks for clearing that up, Claus. It's too bad they didn't have you continue right on to the stage. Must have been fun to do that shot, great job. So what's with this picture? Was that a rehearsal, save-the-back sort of thing?

Oh, I enjoy them, but not what I would call a BIG fan. The question was raised on another forum about this shot (it can be viewed here, by the way). The controversy was whether or not it was shot live and continously--to me, the cut once they get backstage is an excellent indication that the front end was pre-recorded and rolled in, despite Paul Schaffer's exhortations to the contrary! What do you guys think?

Pickwick Lanes is a good choice, David. I think you'll enjoy it. I've been there a few times celebrating Dave Chameides' birthday (who recently became a dad for the second time, if anyone wishes to shoot him a congrats!) In the interest of disclosure, I was just at a bowling party at Lucky Strikes, and they validate for the Hollywood & Highland parking garage: $2 for 4 hours. However, the bowling rates are pretty high (it's the babe-factor surcharge, I think!)

Did anyone here operate the segment on Letterman a while back which brought the Beastie Boys out of the subway and down around a city block into the studio (where the performance continued, although with the appearance of a cut)? It was low mode, on video (obviously) and with a fisheye lens...

Nikk: Weekend after next I'll be directing my tenth film made in 48 hours--that's right, daddy, 10th! I co-created a version of the concept about 3 years ago, we call it "Instant Films" and hate to say it, but we make the 48-hour Film Project rules look like--well, to use your phrase, sissy merry's (should that be "Mary's?"). With ours, the writing isn't done in advance, the directors have no prep time as they are separate from the writers, you can't pick your locations in advance, and the screening is at the 48th hour so you can't cheat even if you wanted to! Boy, I feel somewhat shameless for hijacking this thread for a second to plug the festival--but seeing as we having one coming up, I just gotta...August 22nd at the Los Angeles Center Studios, details (and our 107-film archive) are at www.instantfilms.tv. Sorry about that! Incidentally, Nikk, I've shot most of mine with the XL1 on Frame mode (the faux-30P setting). Do you like/not like this look? I find it the most filmlike for that camera.

I can't remember where I left my keys this morning, but I'll probably remember that darn National Geographic documentary word-for-word for the rest of my life...the actual verbiage was "you've ended up here with a garbage frame". (embarassingly, I really DID forgot that we had to valet park at the studio parking garage this morning, and spent an hour going through all my gear and ransacking the stage trying to find my keys at the end of the day before it all made sense. Ugh)

Just as important as wearing the right color outfit (probably more so) is to patrol the set WITHOUT the rig during reherseals if there is any danger of reflection, use the eyeballs to avoid this happening in the first place. Making sure the boom guy, camera assistant is on the appropriate side of camera is crucial. Just because we can't see it in the green screen doesn't make us exempt from blame when we photograph half the crew.

Years ago I had seriously considered having tiny little cranks made for an EtchaSketch to really duplicate the action of the geared head so I could practice at home; thankfully the universe kept me from geeking out that far. But yet, it's not a bad idea. Actually, someone should have come up with a virtual-reality-esque video game interface which throws a serious of operating challenges at you, "I just made it to level 4, standups and sitdowns!" "Dude, level 6 is all Technocrane, that's the shiznit!"

Thanks Alec, and behind the scenes thanks to Jim Bartell, who happened to have the missing power taps. I'll check with Greg, but I'm betting someone out there has a trashed battery housing that might just do it.

Hee hee, well there I go spoutin' off my mouth without reading the fine print--I can't make it that weekend due to another round of Instant Films. See you guys on the next one I guess.

Hi gang: I've got a little project and I need some Anton Bauer stuff. Maybe someone has just the things lying around and want to get rid of them. I have two battery receiver plates with no backs, also missing are the little two pin power outlets. The wiring is in place, just no sockets there for some reason? Perplexing. So I need both the back plates and the power sockets. I also need one male side, like the back plate of a battery with the mounting studs. A dead or broken battery case might be just the ticket for this. Who's got the goods?!