Freelance Cinematography - essential gear

[Matt Gottshalk]

Yup after i almost took out an eye with a bungee, it was ratchet straps for me:

http://www.amazon.com/ProGrip-404400-Rope-Lock-Down/dp/B00138OMJI/ref=sr_1_5?ie=UTF8&qid=1373165039&sr=8-5&keywords=Ratchet+rope

 

[RyanT]

Yup after i almost took out an eye with a bungee, it was ratchet straps for me:

http://www.amazon.com/ProGrip-404400-Rope-Lock-Down/dp/B00138OMJI/ref=sr_1_5?ie=UTF8&qid=1373165039&sr=8-5&keywords=Ratchet+rope

Yeah, we have a one-eyed grip in San Francisco from that exact incident....I really wish I was kidding!

 

[David W. Jones]

Good call!

 

[David W. Jones]

Yep, all I would need would be my light meter and David.

You could even leave your light meter home.

Light meter and color temp meters ride in the camera assist case. rogar-BigGrin(DBG)

 

[David W. Jones]

Got the rope ratchets ordered, thanks guys!

 

[greenheron]

David,
Very nice Van. I work with a Gaffer that has this exact van outfitted for Grip/Electric and it works very well. All I have to bring is the Camera Package and a cart and he supplies the Van and a few guys and we are good to go on most shoots. Only when we get into the Fisher dollies and big lights do we need a bigger grip truck. This works for about 75% of my jobs now. Thanks for the photos.

 

[David W. Jones]

They are a great in-between size vehicle, and get pretty good fuel mileage to boot.

I initially had a small work area in the van and carted all my gear, but my work changed, and that was a waste of the storage height so I went to the shelving. Think I'll add a nice converted junior cart and call it a day.

 

[julian]

I have a 4 Ton truck and a 1 ton van that is all grip/electric. My cameras are separate. I use and love the rope ratchets and the reg. ratchet straps. I have them in different lengths and sizes and they prove to be much safer than the bungy cords. As for me because most of my shoots have different needs. I basically, if I can do a tech scout 1st. This normally, gives me an idea of what will be needed. It also gives me the opportunity to communicate with the producers and find out what the production can or cannot afford.
Most of the time, those are the things that will determined what I'll be bringing to the shoot.

 

[David W. Jones]

^ It's funny, I have a producer that will specify "B-Roll only! Do not bring any audio gear or overheads to this car dealership", as the owner sucks on-camera and we are trying to keep him off camera":zombie_smiley:

 

[maranfilms]

More important than having the latest and greatest gear, the cinematographer must be very knowledgeable of how his gear works. For instance, if you don't have an Alexa, but you know how to get every drop of goodness out of a GH2, the GH2 can look pretty damn good! Never will I say it's better or equal on paper, but it does make a big difference. Give me an odd new camera I've never used on a docu job or give me an HVX200. Despite some rather obvious pitfalls of the old HVX200, I'd likely deliver 10x better footage on the HVX200 than a camera I'm just learning or figuring out.

This should be a sticky, and a rule of thumb. I think many people think that because a camera costs much more than what they have, it will automatically deliver a better image. Ryan is spot on here. USE WHAT YOU KNOW, not what costs more (relative speaking) Also, I think one of the biggest mistakes people starting out make, they don't buy the gear that produces a better image, but what they think will make them look like they know what their doing on set. That only flies till the delivery, then the client finds the filter less 900.00 matte box didn't do squat. And can't figure out why the footage looks terrible because the gear looked so impressive. I say, unless your hiring a dp or gaffer that has a kit, it's essential to OWN some lighting instruments, you can buy cheap, used tungsten Fresnel's, kinos and LEDs cheap, and get some good stands, and sand bags, nothing makes my blood boil more than seeing someone using a 2,000 watt tungsten on a crap stand, with no sandbags, Safety is my number one priority, that would be my advice, If I were shooting narrative, I would rather have one 28mm lens, and a decent light kit, than a set of lenses and no light kit or modifiers,

 

[maranfilms]

Yeah, we have a one-eyed grip in San Francisco from that exact incident....I really wish I was kidding!

his name wouldn't be Willie would it?

 

[groveChuck]

Here is the rear of my van now.

With flags, scrims, diffusion, reflectors, sand bags, weights, clamps, tape, light weight stands, audio boom, cine-saddle, mini skater dolly, riding on the right side.

And power, camera support, cameras, lenses, camera assist, lights, stingers, dimmers, nested apple boxes, tools, audio, makeup kit, grip clamps, a couple of pony stands, and only 5 C-stands, on the left side.

Other stands ride on the back doors.

David- all that gear and you have a Rock and Roller cart up front?
(literally the only gear I have in common with you, well... that and 2 C-stands, and I guess an AF100).

Unless it's a case of "It's not the cart you use, but how you use your cart" :grin:

 

[David W. Jones]

I have a few carts back in my studio, but they are non-collapsible. I sold my senior cart a few years back cuz it was just too big for where I was going with it. I will breakdown and order a new junior cart soon, it's just the shipping on these suckers is killer.

 

[David W. Jones]

OK, finely replaced that Rock N Roller cart with a Filmtools Junior size Camera cart.

To quote Ferris Bueller.... If you have the means, I highly recommend picking one up!

 

[David W. Jones]

Anyone have a shot or two of how you are using the Rope Ratchets?

Thanks!

Dave

 

[hscully]

I hadn't seen this thread, but I did order some rope ratchets... Man, your truck is smokin'

 

[David W. Jones]

I hadn't seen this thread, but I did order some rope ratchets... Man, your truck is smokin'

Thanks!

Been trying to figure out the best method in using these rope ratchets.

May try installing eye loops on one side of the shelves.

 

[hscully]

Yeah, I ordered a couple of them yesterday to see. Right now I'm totally maxed out space-wize, thus the truck lust. I use my 2010 outback which is great and lugs a ton of stuff but I have to be so judicious on what I bring and that can go badly... for want of a nail and all. I'm loading either all tungsten or all daylight (except for the kinos) which means loading in differently every time. If I have the jib, I have to leave something else. Not good. Plus I have some gear I can't get in there at all and is just sitting like two 4 X 4 floppies. They don't fit in the carl. My other 4 X 4 stuff is fold up Chimera which is expensive. I'd rather some 4 X 4 Empty frames tricked with whatever I need, grid, 216.

I have this "car" project this weekend. I picked up some Matthews stainless steel dolly track. The 8' lengths fold down to 10' which is too big for inside. I have to arrange something for the roof rack. I got some clamps from ebay made for that rack and will fashion some stops from them. I don't know. We'll see. Those tracks are pretty heavy, plus I have to lug the wedges.

All I know for sure is that every time I see a Sprinter roll by I'm bird-doggin' it like a high school kid watching the girls at a mixer!

 

[David W. Jones]

Well even with all the space in the sprinter you still have to make those decisions of what to load, as it all won't fit.

Worst production vehicle I have ever used?

Due to circumstances beyond our control, 1977 Ferrari.
Yes you get to the shoot in record time, but with very little gear. rogar-BigGrin(DBG)

 

[hscully]

Can't get much in that, but you won't be late for the call!