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Hard day


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#1 Amando Crespo

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Posted 04 September 2007 - 05:04 PM

This was a very hard day working.... "If you´ll work wirh mini H-D said me the producer..."

:(
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#2 Alfeo Dixon SOC

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Posted 04 September 2007 - 11:34 PM

This was a very hard day working.... "If you´ll work wirh mini H-D said me the producer..."

:(


Nice Zoom lens your flying there Amando... I think only the optimo could beat out that lens configuration. Maybe next time you'll bring a camera to the dance with you.

-Alfeo
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#3 Amando Crespo

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Posted 05 September 2007 - 01:34 AM

Sure, Alfeo... But like you know, the photography director is the boss... (I´ll never understand that lens choice)
Realy, the producer, said me that I´d gonna work whith a mini H-D, and when I saw the zoom... I´thought that someone get crazy, but...
what could I do... Respire NitrousMetano and cry blood...
:unsure: :blink: :unsure:

That job was for a commercial of Sony Bravia, and I was working for 9 hours....(And my wife waitting for me that night...Uf!)
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#4 Eric Fletcher S.O.C.

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Posted 05 September 2007 - 08:23 PM

That job was for a commercial of Sony Bravia, and I was working for 9 hours....(And my wife waitting for me that night...Uf!)


Wow 9 whole hours.....
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#5 Amando Crespo

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Posted 06 September 2007 - 01:13 AM

That job was for a commercial of Sony Bravia, and I was working for 9 hours....(And my wife waitting for me that night...Uf!)


Wow 9 whole hours.....

Resting every 3 or 5 takes... I said. One hard day
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#6 Lukas Franz

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Posted 06 September 2007 - 03:31 PM

Hey Cowboy!

Is it allowed to shoot a Sony commercial with a Panasonic camcorder...?

Nice setup! I know those crappy camera assemblings with P+S and unproportional lenses. Everything is getting uncredible long and pretty heavy.

Anyway, no problem for you, Amando ;-)

Cheers, Lukas
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#7 Alfeo Dixon SOC

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Posted 06 September 2007 - 06:29 PM

Is it allowed to shoot a Sony commercial with a Panasonic camcorder...?


Nope! Atleast not on the show I started with the varicam and when they found out (Sony suits) they MADE us use the F900 two and a half weeks in.

-Alfeo
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#8 MarkKaravite

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Posted 06 September 2007 - 11:07 PM

This is why I always ask what lenses will be used on Steadicam ahead of time. If you don't ask, someone else will make a stupid decision for you.

That was quite a lever they had you operating there. Try a whip pan with that monster :(

9 hours can be a very long day, if it's all Steadi with a pig like that. I did the hardest day this year 2 weeks ago. It was a festival concert with 6 acts with sets of :40, :40, :50, :50, 1:00, & 2:00. It was non stop operating during each act, with 15 minute breaks between, 85F & 95% humidity. Is someone going to say that's not a hard day because it's only 7 hours? Please!

Mark Karavite
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#9 Erik Brul

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Posted 07 September 2007 - 09:12 AM

Is someone going to say that's not a hard day because it's only 7 hours? Please!

Mark Karavite


Sharp Mark.., indeed let's do a competion.. how many hours in the vest ? ;)
But for some people that's seems very important :blink:

I did cover with Steadicam the latest Triathlon Full Distance in Almere, The Netherlands. I had the vest on from 07:15am - 10:15am / 11:45am - 16:15pm. In my case a Flyer with the JVC GY251 with some bells and whistles on it. I did speed running following 30 triahlets during change from swimming to cycling. 30 times a approx distance of 75 meters. Ofcourse this is a Flyer with lightweight JVC camera on it. But for me it was a new record and i'm proud of it.

Best, Erik
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#10 Charles Papert

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Posted 07 September 2007 - 11:10 AM

Moving away from the endurance trials and back to the indignities of flying a long zoom--Amando, during the course of the shoot did you come to understand the purpose of having that lens on there? i.e. was the full range of the zoom in play, or could it have been a shorter zoom (or--shudder--primes)?

Some years ago I was brought in for a day on a pilot by a director who I was friendly with (and a DP for whom I had never worked). Arriving on set the AC informed me that I would be flying an old Cooke 20-100 on the XL (or LWII, can't remember which). I figured we had some sort of exotic zoom in mind, so I balanced the monster and away we went. After a few takes of a fast moving walk and talk, I had a moment to ask the director if he knew of any reason why I had a zoom on. He had no idea, since the planned Steadicam shots were quite straightforward. So I asked the 1st AC, and he guessed that the DP thought it would simply be faster not having to swap out primes. I might have thought it was a "look" issue except that he was using Primo zooms on the A camera.

After watching this particular DP spend twice as long to light the set as I was used to (i.e. plenty of time to work with primes) as well as generally make a big smoke-and-mirrors show out of everything, I realized that the lens choice was just one of his virtually arbitrary bits of his act and I was having to shlep the glass around for no good reason.

I hate that.
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#11 Amando Crespo

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Posted 07 September 2007 - 11:41 AM

Moving away from the endurance trials and back to the indignities of flying a long zoom--Amando, during the course of the shoot did you come to understand the purpose of having that lens on there? i.e. was the full range of the zoom in play, or could it have been a shorter zoom (or--shudder--primes)?

Some years ago I was brought in for a day on a pilot by a director who I was friendly with (and a DP for whom I had never worked). Arriving on set the AC informed me that I would be flying an old Cooke 20-100 on the XL (or LWII, can't remember which). I figured we had some sort of exotic zoom in mind, so I balanced the monster and away we went. After a few takes of a fast moving walk and talk, I had a moment to ask the director if he knew of any reason why I had a zoom on. He had no idea, since the planned Steadicam shots were quite straightforward. So I asked the 1st AC, and he guessed that the DP thought it would simply be faster not having to swap out primes. I might have thought it was a "look" issue except that he was using Primo zooms on the A camera.

After watching this particular DP spend twice as long to light the set as I was used to (i.e. plenty of time to work with primes) as well as generally make a big smoke-and-mirrors show out of everything, I realized that the lens choice was just one of his virtually arbitrary bits of his act and I was having to shlep the glass around for no good reason.

I hate that.

Dear Charles.... You have reason.
Nobody, producer or photo dir. said me about that zoom. Dp. said someting about to do a shot... "zoom in and steady walking back or versus..." (I didn´t use full range, of course). But I never imagine the size of that "big pig" on to my sled. When I arrived to the set...I found "the problem".
Any way. If I uploaded that link, it wasn´t for to be conceited. I promise. I did it like a curious story in the life of a steadicam operator, one more affaire in our jobs. But like you know, "the show must goes on..."
Best regards
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