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Ari Robbins

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Everything posted by Ari Robbins

  1. Tiffen handles my rig with the utmost scrutiny. I took my rig in to get tightened just after that oner, as I work my gear hard quite often. The extreme nature of a lot of the work I do, and manner in which I work my gear does require that I have it maintained regularly in order to successfully complete the challenging work I do. I do TV a lot now, and I know that the level of use of gear on a show is nowhere near the level of use of someone who does other jobs. Because of my good relationship, my rig gets taken in and fixed quickly any time I need something. I've heard customer complaint service from Tiffen, and I personally couldn't have a Better experience with their customer service. I could drop my rig off today and pick up a new one right away, then as they always do, no matter the issue, will have everything resolved within 48hrs, all the while I have a back up rig to keep going. I do this about once every 3 months. I'm a gear perfectionist, if something is a millimeter off or slightly different, I take it in, it gets fixed. Hell most of the time, I don't even get a bill. Also, Alec's comment makes no sense. Think about like so: if I did a job, and the top stage needed to be tightened, how would they know about it before the job?? So yes with a good relationship, they will fix it fast. But Alec's comment states as, and with a good relationship with Tiffen you think they would be all over it. Yes they were, when the problem was brought to them the fixed it, immediately and provided me with a full Ultra 2 rig while it was being serviced. So to make a statement that suggest that they weren't or because of my relationship that it's odd it wasn't fixed, is basically a play in time travel, no?? Does Pro have a sensor that automatically updates to Jack as soon as it turns on to let him know how the rig is doing before it's set up and used on set? Pretty sure only NASA's Mars Rovers do that. Yes I made my choice, because I have the confidence in what my decisions are and the effect those decisions have are always in consideration. It's called accountability, and I live to that as one of my highest personal values. So to be evaluated by you or anyone else on this forum, is unneeded. Thank you for your considerate comments, I appreciate your concern and input. Really though guys? I have no need to discuss or state anything to a website filled with this type of communication. I have worked my way from no connections and a model 3 up to an U2, Preston, and all the other gear needed. I have never been handed a job by another operator, and I work on about 12 TV shows a year, I do about 2 major commercials a month, I do probably at least a 250k video once a month, and fill my time in between with a ton of work. I work on average, 15 different jobs a month, and shoot about 26 days per month. I average at about 300 working days a year, but only here on this forum I'm treated with such negative encouragement, only here am I treated poorly. So y'all can have your forum, y'all can have your opinions. I'm to busy to sit and be a part of this horrible online community, I have to go to work on yet another major television show I am just starting on. Have fun kids. Keep flying safe. I'm sure ill post something again in another 2 years, maybe then, this forum won't be the shit it's been since I joined the steadicam community 10 years ago. Actually, I'm not done. I think it's absolutely disgusting the negativity I have seen displayed on this forum and by the people who are supposed to be the leaders of our community. The ways young guys have been spoken to by you guys, you know who you are, is just short of complete assholeism. How dare you guys think you have the right to treat people the way you do? You have a responsibility to be the better, a leader, a friend and a mentor to those who have interest in what we do. All I ever see is backhanded comments, insults and degrading peoples comments, thoughts, choices and decisions. I have never looked up to any of you, not because of your work, but because of the indecency you show to others. I have had many young people ask and say stupid shit to me about steadicam, and I take a minute to politely help, not belittle. I'm not a leader of this community, but at least have the common courtesy to be kind to someone who may not know what I know, or experienced what I have. I care about the future of my craft just as much, maybe more, as it will effect me longer then it will you. You guys will be done in 10-15 max, I'll just be at my prime then, with another 15 left in me. So I do care, because once your gone, it's up to people like me to carry the torch, and I will personally do all in my power to make sure that our community isn't filled with the same energy as it is now, because I couldn't sleep at night if I felt I treated a newbie they way y'all have in the past. So in ending, good day, good night. Be better, cause even with 20 more years of experience, the way you treat people matters most. Can't believe I'm half y'all's age and you need to hear this from someone like me. Oh and keep doing what you have done to try to stop me( I know btw) and watch as it will do nothing. My skill and resume speaks for it self. Again, never been given a job by anyone, and frankly, I wouldn't even want a referral from any of you, it means shit to me. See y'all on the back lots
  2. Considering I told them afterward immediately, and then showed them the video once it was released. We talked about, laughed about it. No harm was done, the arm was clean and serviced. Even had the company sign off on the plan to throw it, when we walked through the shot and came up with that. So had any damage been done, it would have been covered. And considering my relationship with Tiffen, had there been a problem even after all was considered, we would have worked it out as we do. I was prepared to have them take my arm should it have conflicted with any schedule. And as someone who owns a large portion of gear, I get it. However I'm glad that's the first thing you thought of and instead of asking, you just assume the negative. Then instead of clarifying, you commit to go with an insult based comment first. I'm instantly reminded why I don't post on this forum. It's text, meaning your translation of it comes from your mentality.
  3. Just saw this posting. Thanks Jess for the shout out. Yes this was a small YouTube production for YouTube studios. Apparently they push to have their artist do one shot videos. In there mind, it's easier. In this case, probably the same for many low budget shoots, The prep needed, organization, and planning are never in place. I walked in at 9am and then we started working this whole shot out. By the time we started rolling takes (only 6 and back to back) the sun was in a shitty spot for us. But the truth of the errors are that the productions and staff that generally are handling things like this either don't know or don't care. A bunch of young kids at home wouldn't even notice the truck in the back or care. So we get a degradation of quality because of the overall attention required. A shame, as many videos like these could be truly amazing if the care and consideration was put forth by people who truly were "filmmakers". Either way it was fun. Yes the same pick up truck was used twice in the shot. Getting on and off was quite fun;) I don't know the full abilities and limitations of a Movi so I don't know if it would have been better or worse in this case. I do think we will see more and more jobs lost to a Movi, I've already seen it in effect on jobs I know of. Which I guess will bring both positive and negative aspects into our world. However, I don't think I'm selling my rig yet. Yes this way pre hummer days, but I would have opted out of using it for this shot anyway. Also the arm I throw in the Tenacious D video was a demo loaner, so nobody's arm was hurt in the making of the video. But i figured, hey if your gonna be in a video, and it's Tenacious D. Fuck it, throw the arm :) once in a lifetime thing ;)
  4. Steve Robinson 917-348-4998 Very experienced with the F35. Watched him pull out a motherboard from the F35 on set, he fixed, put it back in, and it started recording again. This was right after panavision told him they weren't sure what to do. Absolutely incredible DIT.
  5. So I was reading over some of the recent posts, and it seem to me there is a lot of confusion on many aspects of legal, business, rates, and contracts. I was wondering if perhaps it would help if we set in stone an exact answer to these questions that a lot of younger ops, as well as older ops are having. Things are changing in the industry and with all the outstretching it sounds like different deals are coming up left and right, and the majority of these things have a huge potential to destroy things a lot of people put hard work into. So perhaps maybe I"ll start, and people can fill in till we have something that is generally known and accepted by all??? Some points: Insurance cert. is a must. How can we get it if the studio doesn't say they will....? Union rates: Bumps for steadicam days, prorating the rental, what is the amount one should rent out for, what shouldn't they. Guarentee days of use per week. What is standard. nonunion: rates, agreements and such. Pushing: what needs to be in the contract before to protect this, what is the standard of operation during an event like that. Pay or Play Rentals on accessories A or B camera deals Rates if company provides rig. LLCs, setting up businesses etc,etc, etc Obviously not all things will always be so black and white, but perhaps at least a basic guide for all to have would help so Producers don't prey on those that don't know, in turn screwing it for all. I know this is a concern for me, as I worry about my choices and how that weighs to both the industry and our community. I feel like mistakes I made I;m accountable for not finding out the answers before the question came up, but maybe we can help so others don't??? One thing that concerned me, is that being on mostly non-union shows, it feels like the guidelines are all over the place, but to hear that on union shows guys are giving out some deals that they are, concerns me greatly. Its things like that that really destroy so much, now with IA adding the low budget tier, its only going to get weirder. I know it seems a bit redundant to put these things in writing on the forum, but if it wasn't so necessary then there wouldn't be as much confusion I think. I know that $2000 for a weekly rental on a union show 5 out of 5 days is bullshit, but that doesn't mean Joe Schmo does, if we assume he does or don't provide the education, then we really aren't being accountable for the results he creates too. Also, its easy to get mad at people who do things another/group of us don't like, but lets face it, there is always somebody for something. If there was a guideline, at least there is something we could have that stands for all, that we can argue to those who do break the standard. Its more convincing to not low-ball when you clearly can see the line in the sand, and know your crossing it, and know what that does to each individual of this group. Maybe a quick one page thing with some bullits, maybe we post that in a thread when we can agree, maybe this is a guild thing, I don't know. I guess with trying very hard to get further into the future of this biz its concerning. So where do we start....
  6. To add to our list of vices/stress relievers or if you prefer "more ways to injure/kill ourselves", I've found shooting guns to be a nice relax as well as a similar art to operating. Just don't mix up which one you do what with and you should be fine. Anyone for Russian roulette? Could this/should this be combined with Ron's suggestion... Ari "Love my couch" Robbins
  7. I'm whip-panning in every shot, every day...I find it makes "walk-and-talks" a little more interesting :) I wish I could keep the rig the same every day though, but from job to job with all sorts of different cams and lenses, from super high to super low; then repack to head to the next one, I just can't keep the rig the same. Use to with my old one, imagine some guys go through this and therefor DB is more consistently changed. Ari
  8. Hey guys, In case you all were wondering about the Aaton Penelope, its a very enjoyable camera to fly. Very nice viewfinder and video out, felt more like a HD feed then SD, probably due to the conversion to HD. Supposedly they have gotten the 720 and 1080 tap working, when I flew it, it wasn't working, but technically you can use the 720 in 35mm. Very light weight, but felt nice with the added on board batteries. simple when it came down to mounting or handheld, the top screw holes were 3/8 and I had no problem rigging my plate right onto the handle, and still felt like I had a very sturdy mount while doing fast shots in low mode. The camera was easily set with rod mounts available both on top and bottom of the camera. The one major downfall I found was that you could really feel the footage moving through the mag, even with a 2perf 200'mag it made me really desire a remote for trimming, I needed to adjust for-and-aft after almost every take, and of course during the long ones had to expect it. Though as far as its overall form and function, its way nicer then the older 35-3, a very easy to deal with 35mm camera, but the mag got a little tiring. Bout to do job 2 with it, will update on any changes made. Hope to try it in 5k soon. If there is any questions about it let me know. Oh yeah, the battery's held unbelievably long, so maybe that is to help later on with the Digimags. Ari Robbins
  9. Update...So I tried Eric's style of DBing, I found this to work very well when it came down to being able to speed through DB when its not needed to be as precise for doing a very complicated shot. However, when I needed to do a more challenging shot, I used the spin method instead because I felt like I could get a little more accurate. I did Eric's test, got it to as close to perfect as I could, then I tried the spin test to ensure DB, what I found is that if I did Eric's test first, it made the spin test easier as I was already much closer to DB then had I started just with the spin test. Considering its so easy to do both of these methods while I"m already in the balance game, I figure I"ll use Eric's to get me roughly there, and then finalize with the spin. If its an easy shot, maybe not take the time to spin, but hard shots still need precision so think I"ll use both. I think I"m going to purchase the Mickey because before I"m give then camera I"d like to be able to assess the sled's parts prior, saving me the time later when I"m given the camera. And of course none of that applies for having the 2nd or 3rd cam pre built to steadicam for the entire day/show, then time is no issue. However, what I think we are looking at with these two styles of balancing is a choice, a good choice too. We have multiple options and can utilize them how we see fit. Thank you again Eric, I really do appreciate the spread of knowledge, I think I'm gonna be a long time user of the 90D Drop. Ari Robbins "Hit the red skittle, then put the circle in the square"
  10. The design of the Mickey seems to basically be what Eric is talking about, its just using a fixed point instead of a doing a 90degree drop test. The difference in test, from what I think Eric is saying, is that instead of testing the spin, your testing the way the weight carries it downward, if it falls in a certain direction in tells you which way each part needs to be moved(battery or monitor). if your dynamic and static, it should fall straight down without the monitor or battery leading as it head towards the normal position. I"m not sure if Eric is meaning it must be a 3-4 sec drop time, but since i like a little more bottom weight, i tend to be more towards 4 anyways, just my personal choice. I am using the HD Ultra2 monitor, not sure how much heavier it is, but generally I don't have to pull it out far at all. course pending on camera set up. The Mickey can be seen on youtube, if you want to see it in action, may help explain where I can't. However in regards to waiting, I think you may have misunderstood my meaning; to clarify. I'm not into making people wait, I'm stating that I"m willing to take the time to accurately set up the camera to do the shot to its exact perfection. If achieving as absolute best balance as I can gets the director/dp a better shot, then I"ll take the 2 min to do so. I"m not going to rush balance, and then blow a take because I wasn't ready and decided to say so anyways. however if there is a tool that can take something that is 2min to 1min, then its worth interest if I want to speed up something. Also, I do my first balance as my ultimate balance and adjust as lenses and such change, but my feeling is do it right the first time then nothing to worry about, post shot means I clipped an edge or felt a degree of dutching, therefor I need to now go back to the dock, then rebalance, now asking for more time. In the end run, this is all about shaving seconds. I remember being told by a cinematographer that he has calculated the minutes/seconds everything takes, then analyzes where to shave seconds, cause 10 seconds multiplied by 40 times is at least one more take. The reason I mentioned waiting is that I"m not rushing the process cause I"m worried of protocol for set, or not understanding the process, I'd just like to see if I can get faster with the help of a tool. Which is essential what we do, and are, in a way, so using another to achieve higher success, to me is very logical; clearly I would make judgements to shots, but I"m talking about complicated shots, not your run of the mill "walk and talk". Though the test Eric is talking about will probably be a faster balancing method than the spin, I"m still interested in the idea of doing even faster then that, hence the question of the Mickey.... If that came across as an attitude/disregard to productions, or taking an absurd amount of time to balance/knowing the job, I can assure you, thats not the case, nor do I think my credits/reel/previous postings reflect that attitude. I apologize for not stating it clearly as I would never intentionally promote that behavior.
  11. Hey Eric, Thank you for the info, I"m definitely going to try that if I ever get to do a shot here on set today. Just from reading it, sounds like a much easier task for dynamic balance. I use to not have as much trouble with my old Model 3A and dynamic balance, believe it or not, but ever since I upgraded to the Ultra2, I've found the task more complicated then before. I"m assuming that I have more options and range, so adding that to my knowledge, there is of course going to be a learning curve to it. I found that even though the U2 has guidelines, mine may be a little off so the added tool could help, but I'm gonna work with what you said before I buy any part. I find I can get it now, its just the time it takes me to do so, as well, seems like the camera and accessories are just getting more wonky, making it a more precise task. I don't rush, and have no problem making people wait for the tool to be ready for the job, I just would like to speed it up for my own desires. Think your method is going to help overall to the speed so that I don't need Mickey for speed. Thanks again. take care. Ari You can achieve the same results by setting a 3 or 4 second drop time and then bringing the rig up 90 degrees like you would for a drop test and then panning it 90 degrees so that the monitor and battery rack are level and then doing a drop test. If the rig rolls to the monitor you need to either shorten the monitor arm or lengthen the battery moment. The rebalance the camera to get the rig to hang flat (Battery's back so camera forward) if the rig rolls to the batteries they need to be shortened up or the monitor arm lengthened and the camera moved back to level it. Do this until the rig does not roll/pan when dropped and you will be in dynamic balance (Jerry will tell you that you're not but the rig does spin flat and that is the definition of Dynamic balance) I've been doing it this way for years and have never had an issue, the folks I've converted over to this method also like it over the spin method.
  12. Has any one tried this product? and if so, how did you like it? Does it actually help or am I wasting what could be beer money? Ari http://shop.strato.de/epages/61417979.sf/en_US/?ObjectPath=/Shops/61417979/Products/%22Mickey%20Dynamic%20Balance%22
  13. Yeah, the first day we were stuck to recording to the SR2, via dual link, which forced me to be fully attached. On the second day, we had the OB-1, but I didn't have the power cable/mounting to rig it onto the sled itself, which would have been very nice. Instead I had a little back pack that had a smaller feed but still a dual link. Had we been in high mode, I would have been able to rig on the OB-1, with just a feed to video village, but unfortunately nothing but low-mode.. The other problem was that, IDX HD cam waves don't run at true 24fps, so I also had to be forced to be cabled for video village anyway, so it was what it was. Also, for note, IDX is working on getting the Cam Waves to do 24fps, and better choices for SD, spoke with them last week, and they said due to high request they will be working on that. So in the future, we can expect full mounting options for the OB-1, however the flash mags are an option, should there be situations with a desired link to an OB-1, the mounting support for studio and steadicam will be an option. In regards to Overscan, we did have it both in view finder as well as in the BNC out, I had everything in my monitor, with extra room for camera information. I found this to be incredible comfortable, I wish I had a photo to share. It was the best video out I"ve seen for an HD camera yet, minus the obvious F35 and Genesis. Also, the overscan was higher on top and bottom for the info, which was crystal clear, and didn't feel like it affected my vision while objects were riding the edges. Also, I did feel like I had a bit more on the Horizontal plane then I've seen in others, at least for the video out side of things. (was working with the Ultra2 monitor) All in all the feed was just perfect. everything was right, and for the first time I finally had a tap going in that my Ultra 2 monitor couldn't hold the quality of. Not to boast on the Tiffen monitor, we have all had that discussion, but I"ve always felt like my monitor is better then 90% of the monitors on set, in this case, no monitor was really good enough for the footage coming in. The cinetel was for video village, and you still felt like the image was being tuned so far down for the monitors, I"m sure it looked incredible at the screening. all in all this camera was a nice return to working with quality equipment. I got a little tired of all the Prosumer equipment and accessories needed just so I could get a real, long eye piece on a RED to do a difficult dolly move. Now we can have our cake and eat it too. Producers,directors, and Dps can have what they need/want for their production and we can have a tool that will actually allow us the comfort needed to succeed in the task we put them through. I sacrifice a lamb every night to the film gods in hope that people will use the Alexa as widely as the RED, or hope to say DEAD. ;)
  14. Hey Guys, I flew the Alexa for the World Cup shoot with Stargate Productions. I was told I was the first to fly it as a working camera. So a little about this new dream camera. As far as for us, its 12lbs, completely centered, didn't even need to adjust my side-to-side to balance it. We flew it with a Optimo 15-40mm, and I still had the perfect amount of weight. Not too light, not too heavy. The perfect camera for those full 12hr days. As far as recording, we used the on-board flash mag, the dual link to SR2, and a cool little back pack to support using an OB-1. The new plates by ARRI are incredible, having the option to mount rods either to the camera itself or quick release out of the camera dovetail. It will have a top cheese plate and easy to remove handle, making going to low mode a piece of cake as far as mounting. We had both of my dovetails on the top and bottom, and switched over incredibly fast. As far as powering, I ran it as 24v but I believe Michael and Stephan said that it is possible to run at 12v only it drains fast. 3pin Fisher outs for 12v and 24v out on the camera. The body design has shoulder room for handheld, which with other cameras normally means a not so sturdy mounting when attaching to a plate or tripod, with the Alexa the mount stability felt like I had a 435 on, not an ENG camera. The eyepiece can have an independent setting regardless of recording settings. Always a little nice to have that play inside the eye-piece, tired of my eyes being burnt out by those damn RED viewfinders. We won't need to buy a new cable for this one either, its the same pin outs as an ARRI 24v film camera, the 2pin Fisher. All in all it was a sweet camera to fly. She was so simple, so light, and so easily accessible with all the options we need. The image quality...un-fucking-believable. We shot at night in a street that by the swarm of light meters read as under exposed, however the clarity, and sensitivity made it seem as if we lit it to the T. It handles incredible information, from the deep back ground of night, I could make out the model, color, and style of cars 500yards back in the background. We shot in direct sun for a whole day, the camera didn't overheat, didn't have any issue, and the fan was still silent. Which is apparently swapable on set should it give you trouble, its a consumer grade fan, and yet its still absolutely silent. No more needing to role "B" camera while its a one camera shot cause the sound mixer can hear the other camera cooling down. ARRI has really hit a home run with this one, hopefully our community will pick this one up. It made the RED MX chip look like cheap video. Its just nice to know a familiar company made a professional tool to replace the prosumer garbage that is tearing our industry up. Starts at 50k Euro for the EV1, this baby is gonna snag the market. If anyone has any specific questions feel free to hit me up, I"m more then happy to pimp this camera out. Also, its so nice to know we can put those RED DITs in their place finally :rolleyes:
  15. Not really excited about this post, but I think it needs to be said, and as much as it pains me to write. I think we all need to discuss or examine our working traits. So far this month I have replaced 3 steadicam operators(some of you may know, some of you may not know I replaced you). All 3 productions said the same thing. Personality was not enjoyable for any other crew members on set, from above the line to below the line. Disregard to production, others, shooting, and general not caring (arrogance), and last, but least important in my eyes, was the actual shots. Not every job will go smooth, we all have bad days. Nobody is excused of it. We all know this. However, the arrogance and disrespect is not in good taste. I have noticed that the majority of operators tend to be newer to steadicam, not necessarily new to the business or camera, but steadicam. Here is the thing, I"ve been there, I've done it, all it did was lose potential clients that some I very much regret. Its easy to fall into this attitude, you feel your better and worth more, so you try to act like it, well to tell the truth, unless you pull one amazing shot, most people just think your not kind, or don't want to be around you. I believe that if you agreed to show up to a shoot, it doesn't matter rate, show size, talent, director, dp, ac...whatever, you choose to be there, bring your A game. If you don't, just say no. If your gonna complain you could be out making more as an AC, and the shoot your doing is BS, then I ask you simply, sell your rig and leave. There is no place in any group for arrogance. If your unhappy with your decisions, please, don't take the rest of us down with you. We are hurting our own every time we tune a director, dp, or production from hiring steadicam in the future. We are a specialty, not a must. If your new to steadicam and need experience, remember whether your making 10 cents or 2500, you need to be there. If you came from giant studio feature as an intern, or loader, and are on a 100k film as steadicam, thats where you are meant to be. Its not bad, its just a step of the ladder of progression. I"m really unhappy to hear that people are up to this, I expect to replace people, sure, we all do, but this many this fast sounds like a trend. Maybe some other operators out there have some advice on acting on set, and dealing with productions. Or perhaps a story of situations similar. All I know, is I pulled this shit on a student short, thought I was big time to them, copped an attitude. Yeah... the DP did 3 multi million dollar films immediately upon graduating, now he is signed to the biggest agency as a director, and an as big agency as a DP, we have never worked together since that short. You think it was worth it? Garrett Brown told us at the end of the workshop, that the only thing he considers as a must to be a licensed steadicam operator is be kind and considerate, and be a good example of what a fabulous tool we bring and represent. He asked us to respect the tool, and the things that came with it. This man started all of us, he is our father, and honestly we need to ask ourselves, are we fulfilling his request? I just think perhaps those of the newer guys, even some I've spoken to already are really having trouble in those first years, and aren't sure on what the best manner is to handle that phase, I think anyone with any input on this, it might be helpful. Just be happy out there guys, think of the greater good for your career always. Every job and person matters. We reep what we so, golden rule, yada yada yada....whatever
  16. I think one of the most important thing that comes into play as far as direction, is guidance. I find that good direction comes from explaining the desires wanted however leaving the possibility of comfort up to the operator as far as getting from point "A" to "B". Its the collaboration. Plus direction takes explanation, why should it be different with a living breathing tool. Also, think of the edit. PLZ. PLZ. PLZ think of the edit. I love shooting the shit out of something or popping through a giant shot to find out, thats its just a master. If you don't need, trust us we don't want to do the extra bit of unnecessary. I recently just did what I like to call steadi-held. Its where you basically shoot the first take of a scene not fully blocked, just to establish on film where the actors will be. Problem is, once we found some cool shots, then take two became a one shot. By take 4, we were already into shooting tight lenses of singles, again with no full direction, multiple actors, intense action, and what became a must from video village to make every second beautiful, usable, and count. Clock is ticking. Most importantly, just make them wear the rig... but don't let them take it off till you see the sweat start. :) Ari Robbins
  17. Hey James, I would ditto all of the replies. Having been climbing the latter faster this past year then before, and trying really hard to set myself up, I have had to do my fair share of lower jobs in the beginning. I can say that negotiations have never been my strong point. So far the biggest change has been signing to an Agency with an agent I trust. There are many many agencies out there who are willing to bring in new guys because they understand we are a build, and nothing is better then a long relationship. I would say if you find that your not the best at negotiating or simply don't like to, look into some of the smaller agencies that are around. NY has many great agencies that can help you in that area. Also, it never hurts to explain what list price would be to rent our equipment. Alone, the steadicam is at bare minimal $550 from a rental house. wireless focus: around $150 wireless video: around $150 accessories: $??? This did help me when I was doing my own negotiations. It showed them what they are paying for to the "T". Then it also gives you an opportunity to square out a rental and an operator fee. Ari Robbins iwearcameras.com
  18. Hey All, I had a question about dealing with focus devices/rentals and dealing with production on contracts provided with such equipment. I recently had the 1st AC decide at prep that he didn't feel that my Benz 5000 was adequate for the job. I had suggested that it might be this way before prep and suggested we rent a Preston multi-channel, which we would need anyway for the show due to other shots for the B Cam. Per the DP. The PM asked me if it was needed, and if my package included a focus device. I said yes, but the multi-channel is for a more roundabout use of the B cam and she should converse with the DP. She axed the Preston and upon the prep, and now needing the Preston, that this should come out of my rental. I explained the situation in total, stating what the difference, perceived problem, and solution should be, as well as being generous about taking the cost out to subrent a bartech(single channel) while mine was being serviced. The end result is we have the Preston, and 1 Bartech, as well as my semi-working Benz, for a 2 Cam show. The 1st AC agrees we should have the Preston till we are in the studio, and that after that we can make do with the Bartech and the Benz. My question involves whether somebody has had a situation like this occur, and how they worked it. I know we are assumed to have focus, but are we expected to have a three channel all the time. Also, shouldn't any piece that B cam needs be a production rental not part of ours, either which way we utilize them. I'm wondering if she is just trying to push the new guy for a penny, or if I did something incorrect and should alter my cost for it. We are 1 week in, and I've already had contracts locked. I'm wondering if having the 1st AC agree to mine for the rest of the show will get her off my back, but I fear she will ask for a rental cut due to the preston for the first 2 weeks. This is my first big show so I"m trying to play my cards well but don't want to be doing something irregular. Thank you Ari Robbins
  19. Hello, I'm looking for a master series rig including arm, vest, and sled. Please contact at 213-999-4606. Ari Robbins
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