Seven months of splits, nights, splinter units, inserts, cold, heat, dust, blood (real and fake), and sweat are finally over. No matter what you think of the show, (I make it a point not to use too specific names on this site. It's just safer in the long run but it's not hard to figure out, usually, who or what I'm talking about) it is a huge undertaking and a logistical nightmare. We have six stages filled to the fire lane with at least twelve standing interior sets. Each stage has it's own basic grip package that is augmented with the truck package. I have two dance floor packages and a subfloor cart that rolls around to wherever we happen to be, not to mention a hundred feet of track, and a set of bucks for exterior and sometimes interior dance floor. Location wise, we have a standing exterior set at Warner Brothers, and several permanent exterior sets at a ranch out toward Malibu, and an exterior in Long Beach. This year we travelled the distance from Lancaster, Ca to Long Beach, which is about as diverse and distant as you can get on a show. All this is further complicated by double-up days where a second unit comes in, necessitating two extra dollies and track. I have to thank my B Camera Dolly Grip, Demian, who stepped up to the plate and made my life so much easier. He's normally an A Camera guy and having someone who can take over when I need a day (or week) off is always a relief. We also have one of the finest grip departments I've ever worked with, from the Key Grip down. There's not much these guys can't do. I had several fantastic Dolly Grips come in for splinter units and B camera and they were all great. So, Chris, Matt, Tony, Chris, Dave, Jason, George, Devin, and I'm sure I've forgotten at least one, thank you.
As hard a show physically and logistically as it is, it would really be a nightmare if everyone didn't get along. This show, however is blessed with a great cast and crew and we all really work well together. Anyone who has ever done a TV show for any length of time knows how after a while you begin to become like a family. This may be because you actually spend more time with your TV family than your real one. There's nothing like an endless string of 12 to 14 hour days in various conditions with the same people over and over to draw a cast and crew together. Under those conditions, troublemakers get weeded out pretty quick (although usually given a few chances). Usually, we just make the best of it and laugh as much as possible. I think laughing is the key. Otherwise in the middle of a 70 hour week, you begin to wonder what the point is.
The Camera Department? Best in the world. Thanks Simon, Brad, Weezy, James, John, Neblowski, Joel, Dave, and Romeo.
We used a lot of toys. Here are some of them: Hustler 4 and Peewee 4, Super Peewee 3, Hybrid 3, CS Base, High Post Kit, Raptor, and Hydrascope from Chapman, Moviebird 35-45 from Procam Rentals, Fisher 23 jib arm from JL Fisher, 20' and 30' Technocrane from Panavision Remote, Aerocrane jib. Superslider, and Modern slider, Libra head (Thanks Aaron), Aerohead and Scorpio Head. I do want to thank especially Hammer, Brian and Jason, and Joe from Procam Rentals. These guys are the best. Steve, Shafi, Jason, and Christine from Chapman also did a great job and never let me down. Hopefully, I didn't lose anything.
I am now officially unemployed for the near future. If you need a slightly used, but well rested Dolly Grip in August or September (let's just make it September), give me a call.
Vacation time!
Showing posts with label Peewee 3. Show all posts
Showing posts with label Peewee 3. Show all posts
Sunday, July 10, 2011
Sunday, November 29, 2009
Back Home
That's a wrap on my last job and I get a marathon two weeks off before my next one. Yes, I'm going back to the tv show and I'm looking forward to reuniting with some good friends. One thing about a tv show is that when it's with good people, even with long hours and hard work, it's a little like coming home. I would like to have longer time off, but the way things are now, I'm glad to be working.
The movie was good. It was a rom-com with the added novelty of three babies to liven things up. This had the added effect of ratcheting up the tension while simultaneously increasing the size of my paychecks. Getting a 14 month-old to do anything on cue is impossible (unless crying is what you're after) and toward the end, a separate "baby unit" was created just for certain reactions. Otherwise, it was a completely positive experience (not to say the babies weren't great, they were sweet little girls, but watching an entire crew mug and wave at a screaming baby after 13 hours of "normal" work with adult actors, just so she'll look camera left and smile will throw anyone off the wagon).
I must put in a word for the director on this one. This guy knew the difference between a Steadicam and a Dolly Shot. He wasn't one of these guys who will just throw up the rig because he thinks it's faster. The result was a lot of really fun dance floor work. Unfortunately, these days, a lot of really elaborate shots will become Steadicam shots because a Director either doesn't know any better, or has never worked with a Dolly Grip who can pull them off. This led to a lot of fun and challenging work for myself and our really great Camera Operator, who was a joy to work with. We also did some really fun Technocrane work, and my thanks go out to Kenny, our head tech, and Mike, from Cinemoves.
One thing I learned, as hinted at in earlier posts, don't underestimate the power of roundy round. And be sure that you don't need a Peewee 4 before you put in the order. As a longtime Hybrid user, I had made it a point of pride to pull off shots without roundy, but it was a lifesaver on this one. I had made the decision, after consulting with the key, to just go with a Peewee 3 and use the savings in our budget to allow more toys and flexibility with the other dolly. As a result, a lot of shots I would have used the Peewee 4 on, I ended up having to bring in the Hustler just because of the roundy. This is the first time I've ever not had the Peewee 4 and regretted it. It all worked out, though, and actually made for a little more challenging show, which in some ways was fun.
The particulars: tools used- Hustler 4, Super Peewee 3, 50' Technocrane, 30' Technocrane, 15' Technocrane, Phoenix Crane, Fisher 23. Thanks also to B camera Dolly Grip Frank Boone for a fantastic job. This guy is a great Dolly Grip on his own, but came in as "B" on this show and really made my life easier.
Anyway, I'm back home and gearing up for the next one. I hope to post more frequently now, and may offer some guest posting opportunities to some of you guys if you're interested. Stay posted and drop a line anytime. We're always interested in any comments, ideas, or questions you may have.
D
PS- Unfortunately, I've had to enable word verification for comments because some jackass spam program has found us and is merrily selling Viagra and porn passwords through the comments section. I apologize for this. I hate it as much as you.
The movie was good. It was a rom-com with the added novelty of three babies to liven things up. This had the added effect of ratcheting up the tension while simultaneously increasing the size of my paychecks. Getting a 14 month-old to do anything on cue is impossible (unless crying is what you're after) and toward the end, a separate "baby unit" was created just for certain reactions. Otherwise, it was a completely positive experience (not to say the babies weren't great, they were sweet little girls, but watching an entire crew mug and wave at a screaming baby after 13 hours of "normal" work with adult actors, just so she'll look camera left and smile will throw anyone off the wagon).
I must put in a word for the director on this one. This guy knew the difference between a Steadicam and a Dolly Shot. He wasn't one of these guys who will just throw up the rig because he thinks it's faster. The result was a lot of really fun dance floor work. Unfortunately, these days, a lot of really elaborate shots will become Steadicam shots because a Director either doesn't know any better, or has never worked with a Dolly Grip who can pull them off. This led to a lot of fun and challenging work for myself and our really great Camera Operator, who was a joy to work with. We also did some really fun Technocrane work, and my thanks go out to Kenny, our head tech, and Mike, from Cinemoves.
One thing I learned, as hinted at in earlier posts, don't underestimate the power of roundy round. And be sure that you don't need a Peewee 4 before you put in the order. As a longtime Hybrid user, I had made it a point of pride to pull off shots without roundy, but it was a lifesaver on this one. I had made the decision, after consulting with the key, to just go with a Peewee 3 and use the savings in our budget to allow more toys and flexibility with the other dolly. As a result, a lot of shots I would have used the Peewee 4 on, I ended up having to bring in the Hustler just because of the roundy. This is the first time I've ever not had the Peewee 4 and regretted it. It all worked out, though, and actually made for a little more challenging show, which in some ways was fun.
The particulars: tools used- Hustler 4, Super Peewee 3, 50' Technocrane, 30' Technocrane, 15' Technocrane, Phoenix Crane, Fisher 23. Thanks also to B camera Dolly Grip Frank Boone for a fantastic job. This guy is a great Dolly Grip on his own, but came in as "B" on this show and really made my life easier.
Anyway, I'm back home and gearing up for the next one. I hope to post more frequently now, and may offer some guest posting opportunities to some of you guys if you're interested. Stay posted and drop a line anytime. We're always interested in any comments, ideas, or questions you may have.
D
PS- Unfortunately, I've had to enable word verification for comments because some jackass spam program has found us and is merrily selling Viagra and porn passwords through the comments section. I apologize for this. I hate it as much as you.
Subscribe to:
Posts (Atom)
Posts
