Podcasts about Key grip

If you've worked on a New York Production, the chance that you've bumped into Smitty on your set is pretty high. If you haven't - it's likely the Key Grip on your set probably trained under him. Born and raised in the Bronx, Rob Smith says he was saved by the film industry after years of getting into trouble on the streets. After a friend brought him to set of a music video in 1990s, he was immediately pulled into the industry where he tackled multiple crafts from PA, Director, AD, and more before eventually becoming most known as a Key Grip. Smitty is probably one of the most seasoned non-union Key Grips you'll ever meet with an unforgettable personality. He's no BS, always keeps his cool, but loves a good challenge when it comes to rigging on his shoots. We talk with Smitty about his experiences working in music video world in its heyday, some of the challenges he encountered during his 30 year career in the industry, and where he thinks the industry is headed.Let us know if we're doing a shitty job.Support the show

Susan and Chris are joined by gaffer Josh Spring and key grip Joe Kurtz for a deep dive behind the scenes. They discuss how the show was lit and the many lighting and grip inventions necessary to keep up with the groundbreaking nature of the show's shooting. If you enjoy this podcast, please connect with us and share the episodes on social media. You can connect with us here:   BlueSky https://bsky.app/profile/homicidepod.bsky.social Instagram https://www.instagram.com/homicidepod/ Threads https://www.threads.net/@homicidepod Twitter https://twitter.com/homicidepod The Podcast is also available on YouTube https://www.youtube.com/channel/UCHuY_R27YiZeAwMjcQ3dr4w Music for the podcast by Andrew R. Bird Graphics by Luna Raphael Edited and Produced by Beyond Mirrors LTD https://beyond-mirrors.com/

Welcome to Trilith Institute Talks!   This episode of Trilith Institute Talks, hosted by Hunter Barcroft, features an engaging conversation with Kurt Kornemann, a seasoned Key Grip with experience on high-profile films such as Spy Kids, Zero Dark Thirty, True Grit, Rushmore, Selena, and Guardians of the Galaxy: Volume 3... Kurt walks us through his role on set, the responsibilities of being a Key Grip, and the creative and technical challenges that Key Grips face in the film industry. The discussion also explores Kurt's career journey, from his early fascination with film to his experiences on various movie sets, including his work on Selena and with visionary directors like Quentin Tarantino... He shares insights on the evolution of filmmaking, the impact of filming location on production, and the essence of teamwork in creating cinematic magic. Additionally, film students Matt and AJ share their aspirations and experiences in the industry, highlighting the influence of figures like Robert Rodriguez on their careers. The episode delves into the changes in movie-making techniques, the importance of keeping a crew well-fed, and the future of storytelling in the era of short-form content. Kurt's stories reveal the gritty, thrilling, and often unpredictable world of film production, emphasizing the passion, resilience, and creativity required to succeed in the industry we all love.     Episode Timestamps   00:00 - Sunday Mornings with Selena: A Nostalgic Start / Cold Open 00:16 - Welcome to Trilith Institute Talks: Behind the Scenes with Kurt Kornemann 00:43 - The Life of a Key Grip: Kurt's Journey in Film 03:42 - From PA to Key Grip: Kurt's Path to Success 07:31 - Inspiring the Next Generation: Trilith Institute's Script to Screen Summer Camp 09:04 - The Magic of Filmmaking: Personal Journeys and Inspirations 15:51 - Craft Service: The Unsung Heroes of Film Sets 17:30 - The Evolution of a Film Career: From PA to AD 19:56 - The Future of Filmmaking in the Age of Short-Form Content 20:29 - Exploring the Evolution of Movie Runtimes 21:14 - The Business Model of Short Films 22:24 - Navigating Hollywood's Consolidation and Its Impact 24:11 - Screenwriting Essentials: A Course Overview 24:24 - The Dynamics of Film Production: From Indie to Blockbuster 25:12 - Crafting the Film: The Key Grip's Perspective 30:14 - Adventures and Challenges on International Sets 31:59 - The Economic and Cultural Impact of Filming in Georgia 36:12 - The Personal Journey of a Filmmaker in Georgia 42:52 - Reflecting on the Evolution of Film and Television 45:30 - Closing Thoughts and Podcast Information     Film Industry Terminology In This Episode   Boom - the microphone pole that Boom Operator's (Sound Dept) use to capture sound above actor's heads or outside of the image/ frame of any given shot on a movie or TV show. Key Grip - the leader of the Grip Dept, Key Grip's are typically responsible for all rigging and the shaping of light in any given camera shot. Condor - a very large crane; typically used to hold rigging and light shades/ screens above or to the side of a film set to help shade or shape the light you see on camera Locking Up - the act of making sure a film set is secured and cast/ crew are not needlessly walking around during a take. Could also mean traffic control, if shooting on or near an active roadway.  Dolly - a typically large piece of machinery on wheels that is designed to move a camera along a track at a slow, steady pace. Dollies are used for long tracking shots where the camera "floats" through a set. Color Pass - the edited cut of a film or project that has been processed through color grading, to add whatever changes filmmakers might want to help or change the "look" of the shots that were captured while filming. AD - an abbreviated name for the title of Assistant Director. This term is widely used to address or refer to both the title of Assistant Director itself, or the entire Assistant Director department on a film crew (AD Dept). Keying - technically speaking, this lingo has two separate meanings! In this episode, keying refers to the act of being second in command in a department.. "Keys" is a term widely used as a second in command of most departments on a film crew.  Best Boy - the "Key" or second in command of the Grip department (or Set Lighting department).  Giraffe Crane - a large crane with a long neck, that can be used on a film set for a variety of purposes. Walk & Talk - a scene in a show/ movie where two or more actors are walking from point to point while having a conversation with eachother.  Jib - a camera crane that can raise and lower a camera in and out of a shot as needed Stakebed - a large utility vehicle that is made to move a large amount of gear to and from set/ filming location.     About Trilith Institute Support The Next Generation of Storytellers Take A Professional Education Course Get Involved With Trilith Institute Contact Us Follow Us On Social Media! Trilith Institute Talks Instagram Trilith Institute Instagram Trilith Institute Facebook Trilith Institute LinkedIn  

What does Sean Penn, the mountains and snow mobiles have to do with making films? Patrick R. Heffernan recalls all the behinds the scenes adventures. He's worked in the camera and electrical department of films like Hotel Artemis, Faster and Blues Clues. But one of his coolest moments happened when rigging up equipment for Into the Wild. Also that time the entourage for The Rock made sure they were on time and budget. Because on set every second counts and, "time is money"! Join us in celebrating his multifaceted contributions to the entertainment industry!

Our next guest's career spans six decades of consistent winning - from riding racehorses in Mexico to 12 trips to the National Finals Rodeo and countless 1D and futurity titles. Kay Blandford has been one of our most requested guests and this conversation highlighting the horses in her career that have made the biggest impact is a special one.  Names like The Key Grip and Talents Dark Angel are still known throughout the industry today, decades after their careers have ended.  Kay is still as competitive as ever and every horse that she rides down the alley is one to watch. She keeps things simple, puts her faith in God and her horse's talent, and lets them shine! This week's episode is brought to you by Gold Buckle Horse Sale!

Welcome back to another episode of "Vonti Talks with Filmmakers". We mentor you from afar on everything Indie and Hollywood driven. Explore # 25 with Patrick R. Heffernan, known for his work in the Camera and Electrical department of films like Hotel Artemis, Faster starring the Rock and Into the Wild Directed by Sean Penn. He's also been part of projects such as Super Troopers 2, For The People, and Club Dread. Additionally, discover his on-screen appearances in Workaholics and early seasons of Blue's Clues. He's a master with everything electrical as well so you won't want to miss hearing these stories! Join us in celebrating his multifaceted contributions to the entertainment industry over the years. #HollywoodInsider #FilmIndustry #BehindTheScenes

Mamie Stein, IATSE 489 President and Set Dresser joins Dawn and Larry to discuss what IATSE does and how the job selection process works. She also explains some of the lesser known jobs within the film production industry. 

Welcome to Job Tales: the show where we find out about different professions from the people who know. Each week I speak to a new guest with an inspiring job.  I am Laura Leoncini and today my guest is Allan Gray, Key Grip in the film industry in Cape Town, South Africa. If you have ever spent time reading the final credits of a movie or TV series, you'll know that there are actually hundreds of specific professions related to film. Key Grip is a key role, like the title suggests, and his team, made of Best boy, Dolly grip and many more are in charge of delivering the best camera movement for each scene. But I won't say more. Here's Allan.  

Tom Costantino ACE, Blair Clark, Allie Mitchell and Justin Ulrich Most of the VFX and editing team from Seth MacFarlane's Peacock original series TED should have known what they were in for when they signed on for the show.  Editor and assistant editor Tom Costantino ACE and Justin Ulrich had already been across the universe with MacFarlane for his cult sci-fi favorite, THE ORVILLE.  And VFX and puppeteering vet Blair Clark was the guy behind the bear for the TED feature films, as well as VFX Super for Seth's A MILLION WAYS TO DIE IN THE WEST (2014).  Newcomer Allie Mitchell was not only taking her first tour of duty with Seth, but she was also learning VXF and puppeteering on the job, relying on her background in dance and theater.  Together, the four brought a feature-level quality to Ted's reintroduction on the small screen. Set in 1993, in between the opening sequence in the feature film, TED (2012), the series depicts the early life of a sentient teddy bear toy named Ted, as he lives with John Bennett and his family in Framingham, Massachusetts.  In addition to John and Ted, the Bennett household includes John's father Matty, his mother Susan, and his cousin, Blaire, who is living with them while attending a college nearby. Ted is soon forced to attend school with John, getting him bullied and in all sorts of trouble. TOM COSTANTINO ACE Editor Tom Costantino is known for his work on; 48 HOURS (2004-15), SCARRED (2007), CSI: MIAMI (2010-12), AMERICAN NINJA WARRIOR (2014-15), 9-1-1 (2018-19) and THE ORVILLE (2017-22). BLAIR CLARK VFX Supervisor and puppeteer, Blair Clark is known for his work on Seth MacFarlane's feature films, as well as HELLBOY (2004), THE SPIDERWICK CHRONICLES (2008) and CLIFFORD THE BIG RED DOG (2021). ALLIE MITCHELL Allie Mitchell is a singer/actor/dancer/silk aerialist/writer/yogi/vegan/brunette/dog-loving native of Austin, TX. Prior to plying her significant performance background in the world of VFX and puppeteering, Allie earned a BFA in Contemporary Musical Theatre and Film. JUSTIN ULRICH Aside from being the "secret VFX weapon" in the cutting room, Justin's assistant editing duties can be seen on HOUSE OF CARDS (2018), NOS4A2: GHOST (2019) and THE ORVILLE (2022). Editing Ted In our discussion with the VFX and editing team from the series Ted, we talk about: Looking Back to the Features Stuffies and stunt stuffies Chrome balls, laser pointers and the trouble with eyelines Being a contortionist on set and in the cutting room How Stu the Key Grip saved the day The Credits Visit ExtremeMusic for all your production audio needs See The Rough Cut come to life on the Frame.io blog See what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Bobby Thomas settled into the Key Grip position after attending USC where he was roommates, and became a lifelong friend of the legendary John Singleton. He worked on classic films such as Boyz N The Hood and Poetic Justice, and the TV shows Sons Of Anarchy, Snowfall, and Santa Clarita Diet. Bobby shares his story how he established himself as a Key Grip, the role and responsibilities of the Key Grip, and why not to kick BC's ass before call time.

Ein echter Oberkommissar am Filmset. Wird man da nicht wahnsinnig, wenn man die Dreharbeiten erlebt? Was machen diese Filmleute aus der Polizei und ist das überhaupt realistisch?Von seinen Erfahrungen erzählt uns Patrick Nissen, ein echter Polizist in dieser neuen Folge vom "Setgeflüster".

David Feld and Shawn Obrien are Hollywood producers.  The good kind.  Not the greedy, preventing actors from making a living wage and stealing their likeness to be later used by AI to lower their bottom line kind.  Their work includes doing things like making sure money is accounted for, marketing is handled, crew are secured and productions have what they need to move forward, and purchasing birthday cakes, among many other things.  David and Shawn join us to talk about their early lives in Arizona and Connecticut respectively and how they ended up in the industry.  They also clear up a lot of technical and industry terms…on their own…without being asked…like teachers.  Except Best Boy and Key Grip.  They wouldn't tell us what those were.  Listen to find out why! This is Those Who Do:  The Producers w/ David Feld and Shawn O'Brien!

Schon während der Dreharbeiten war ich begeistert ihm zuzusehen und zuzuhören. Das Gespräch hat meinen Eindruck nur noch bestärkt. Mit Jürgen Vogel ist einer der besten und ehrlichsten Schauspieler zu Gast im "Setgeflüster".

Chris and Andi discuss Oppenheimer and the difference between 'empathic' and 'empathetic'.  ...it's funnier than it sounds.

Today's episode is going to be a bit different as we recorded this one live on camera in our new Theatre with a full audience in attendance.  As for today's guest, the name Tyler Emms has been synonymous with the North Ontario Film industry for quite some time and with good reason too!  Tyler has worked his way up to Key Grip with Film credits on all the biggest shows to come out of the North.  We had the chance to invite Tyler to our brand new Theatre to discuss how he broke in the business and reflect on some of his biggest film credits including Resident Evil: Welcome to Racoon City, Indian Horse and Robert Egger's The Witch! 

Brandon Taylor is a key grip in New York City, and he knows a thing or two about making mistakes on set. In this podcast, he shares some of his war stories, including how he once "shit the bed" on a shoot and how he learned to bounce back from it. He also talks about some of the best gear to use on set, and he gives some advice on how to make a condor do a wheelie (if you're feeling risky).Whether you're a seasoned key grip or you're just starting out, this podcast is full of valuable insights. So listen in and learn from Brandon's mistakes. You might just save yourself a headache or two.Also feel free to listen wherever you get your podcasts.   Support the show

No introduction is needed for our guest this week. He's been on our show in its first season and now Kevin B. Simmons is back with more set stories! He dishes on how it was like working on a feature as a Key Grip for the first time. We also talk about the writers strike and how good communication can make or break a good set/work experience. --- Support this podcast: https://podcasters.spotify.com/pod/show/podcastsetstories/support

Martin Flores is a Key Grip sharing his stories from decades of working in the film industry.Support the show

Das Drehbuch gibt die Geschichte vor, die Schauspieler*innen werden besetzt. Die Crew wird für die Dreharbeiten zusammengestellt, aber wo wird denn überhaupt gedreht? Ideen für passende Drehorte gibt es viele aber welche ist die Beste und dürfen wir dort überhaupt Aufnahmen machen? Da muß doch noch so Einiges geklärt werden. Und genau dafür gibt es die Motivaufnahmeleitung. Was das im Detail bedeutet, erzählt Tobias von Schönermark, einer der besten Motivaufnahmeleiter im deutschsprachigen Raum.

We break down the job description of the Key Grip, Best Boy and Dolly Grip with Marc Christie.

Schule ist geschafft aber was kommt dann? Sofort eine Ausbildung starten oder gar studieren? Weiß ich denn schon was ich eigentlich machen möchte? Was gibt es eigentlich alles? Mit diesen Fragen im Kopf startete Henriette Würffel erstmal ein Praktikum beim Film. Was daraus wurde erzählt sie selbst, in dieser neuen Episode von Setgeflüster.

On Episode 122 of the RETROZEST podcast, Curtis concludes the celebration of the 45th Anniversary of Steven Spielberg's CLOSE ENCOUNTERS OF THE THIRD KIND, in the second of two episodes. This 1977 film stars Richard Dreyfuss, Melinda Dillon, Teri Garr, Bob Balaban, Cary Guffey, and François Truffaut. It tells the story of Roy Neary, an everyday blue-collar worker in Indiana, whose life changes after an encounter with a UFO. CE3K became Columbia Pictures' most successful film at that time. Assisting in this endeavor are two very special guests! First of all, DANYI DEATS (the daughter of the late DICKY DEATS, the Key Grip on CE3K) shares the experiences of her and her family on the set of the film's finale at the Devil's Tower base! Danyi, who was 9 years old at the time, was one of the child actors chosen to participate in a group of small extraterrestrials who descend from the Mothership. In fact, Danyi was the "alien" who held Richard Dreyfuss' hand as a whole group of them escorted him to the platform to enter the ship! Danyi later appeared in Madonna's music video for "Borderline", and also went on to produce several music videos herself in Hollywood; including "Nothing But Love" by Mr. Big, "Desert Rose" by Sting, "I'm Gonna Getcha Good" by Shania Twain, "Thinking Out Loud" by Ed Sheeran, and "When the Heartache is Over" by Tina Turner (to name just a small few). Connect with Danyi on Facebook, Instagram, Twitter and YouTube! Additionally, DENNIS TROMBLY joins Curtis for a conversation about his new YouTube Fanfilm Miniseries, Close Encounters of the Third Kind: Amended. After high school, Dennis began studies at Oakland Community College in Robotics Engineering, fitting for the automotive driven industry. During a humanities class, Film Studies, a professor pointed out his keen eye for observation, detail, and storytelling for film and suggested considering a career in film and television. In this discussion, he shares his love for films, specifically CE3K, and what led to his producing a prequel series for the film. Dennis may be reached at cetktv.com, as well as on Facebook or Twitter. Additionally, Mr. Retrovere shares this episode's Retro News segment. Incidentally, you may help the podcast by purchasing a CE3K Themed T-Shirt or two (many different designs and colors!) from our store at store.retrozest.com/CE3K. You may also browse our entire store at store.retrozest.com/home. You may also help the RetroZest Podcast by purchasing a Celebrity Video Message gift for a friend/family member from CelebVM! Choose from celebrities like Barry Williams, Gary Busey, Ernie Hudson, Robert Fripp, Right Said Fred, etc.! Simply enter their website through our portal at store.retrozest.com/celebvm, and shop as you normally would; it's no extra cost to you at all! Contact Curtis at podcast@retrozest.com, or via Facebook, Twitter or Instagram. Also, check us out on TikTok!

An den verrücktesten Standorten, unter teils abenteuerlichen Bedingungen, verantwortlich zu sein für das leibliche Wohl einer gesamten Filmcrew, ist eine enorme Herausforderung. Was neben den Kochkünsten noch alles dazu gehört, erzählen Kristina Peschel und Ronny Ebert vom Catering "bissfest" in dieser Episode von "Setgeflüster".

Welche Information müssen vom Set in den Schneideraum gelangen. Was genau muss für das Produktionsbüro dokumentiert werden. Wie wichtig sind die Anschlüsse von einer zur nächsten Einstellung und wieviel Kreativität steckt hinter dem Beruf Script Supervisor? Minu Sharegi stellt uns Ihren Beruf vor. Vielleicht ist das ja auch etwas für Euch?

Es gehört deutlich mehr dazu, als die Klappe zu schlagen und auch das soll gelernt sein. Lisa Cohrs ist als 2. Kameraassistentin ein wichtiger Part in der Kameraabteilung. Was alles dazu gehört, erzählt Sie in dieser neuen Episode von ´Setgeflüster`.

Sie sind die ersten Zuschauer und können dennoch auf fast alles Einfluss nehmen. Sie können das Tempo variieren, sie können Nähe oder Distanz herstellen und sie sortieren sogar aus. Doch dafür müssen Sie gut beobachten und zuhören können. Sie müssen sich anhand des gedrehten Materials in die Geschichte einfinden können und in Zusammenarbeit mit der Regie das Optimum herstellen. Es ist ein sehr spannender und sehr umfangreicher Beruf. Was genau man als Filmeditor*in macht, hört ihr am besten selbst.

Selbstverständlich kann es sich auch noch mit Mitte Dreißig lohnen etwas völlig Anderes zu machen, als den erlernten Beruf weiter auszuüben. Peter Heinrich Brix ist diesen Weg gegangen. Wie sein Werdegang war und wie er die Arbeit am Set erlebt, erzählt er hier.

After working on the movie, Firestarter, in Wilmington in the early 1980s, Bobby Huber rose through the ranks, his circus rigging experience preparing him well for the job of key grip. His work helped earn Oscars in cinematography for two films: Braveheart and Legends of the Fall.

After working on the movie, Firestarter, in Wilmington in the early 1980s, Bobby Huber rose through the ranks, his circus rigging experience preparing him well for the job of key grip. His work helped earn Oscars in cinematography for two films: Braveheart and Legends of the Fall.

Um sich in die Selbständigkeit zu trauen, braucht man einen Plan und Know How. Katy Steinfeld hatte Beides. Sie hat dann mit Steinfeld PR & Management eine Agentur für Schauspieler gegründet und berät sogar Schauspieler*innen aus anderen Agenturen. Wie das geht? Wir erzählen es Euch.

Die härtesten Tage sind die Motivbesichtigungen. Dort wird der Grundstock gelegt für die Logistik, die so wichtig ist für reibungslose Dreharbeiten. Im Zusammenspiel mit Gewerken wie Ausstattung, Kostümbild und Maskenbild das beste Ergebnis auf die Leinwand zu bringen ist das Ziel. Aber am Ende ist es eine Passion und ohne Licht geht es einfach nicht.

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Warum wird man eigentlich Komparse? Und wie ist es, sich später im Fernsehen oder gar auf einer Kinoleinwand zu sehen? "Das Wichtigste im Leben sind die Begegnungen mit Menschen": sagt Thomas Zeymer. Er erzählt von seinen Erlebnissen als Komparse und warum er seit nunmehr 5 Jahren und hoffentlich noch lange dabei ist.

Bloß nicht zu viel Vitamin B! Sie wollte es unbedingt alleine schaffen Erste Kamerabühne zu werden. Über 60 Kinofilme später, erzählt Maike Maier von Ihren Erlebnissen am Set. Im Team die Anforderungen eines Drehtages zu meistern, ob in Kenia, in Japan, in Rumänien, in Skandinavien oder in Köln, ist die Herausforderung und macht den Beruf so vielfältig und spannend.

Zack Wilcox is an Upstate New York born and raised filmmaker who brings the sensibilities of small town life into his filmmaking. After an extensive career as a crew member on countless indie features, commercials, television, and Music Videos. He has honed skills in the technical aspects of streamlined indie filmmaking.His first feature film as WriterDirectorProducer - Hunting Lands, Is a slow burn suspensedrama that uses very little in the way of dialogue and lets the imagery of the snowy north tell the tale. ​ A career in filmmaking as a Director, Cinematographer, gaffer, Key Grip, Location Sound mixer, And Producer has made for an interesting background of expertise. A love of the process and the story telling of motion picture is a strong driving factor in his life.Join Luz and Desiree for this inspiring and fun conversation!Catch Hunting Lands on Amazon Prime!

If you're looking for a production van that's easy to drive and fuel efficient the Nissan NV 200 might be what you need.This week Liam Dunaway, Key Grip, shows David George how he maximized the space in his van for production. Liam shares why he likes the Nissan NV 200, how he customized it for his gear, and some of the challenges he faces with it.Listen to see if the Nissan NV 200 will work as your next production rig. Pros:⭐️ Small & stealthy⭐️ Flexibility⭐️ Clearance for 4x4's ⭐️ Easy to park⭐️ Fuel efficient Cons:

Alex Konowitz, Key Grip, joins Susan and Ben to discuss The Princess Bride, a 1987 action fantasy. Alex shares what it's like having a career as a key grip, dolly grip, and rigging grip, watching a majestic sunset from the pool he built on the Jungle Book set, and the challenges of moving a camera inside the 4-foot-tall tunnels underneath a Los Angeles correctional facility. Alex and Ben Konowitz play our “Oh Brother, Where Art Thou and Susan” game. Follow Alex on Instagram or IMDB. Leave a rating and review on Apple Podcasts to help us reach more listeners. Find out about our guests and upcoming events by following us at Facebook, Twitter, or Instagram, contribute to our Patreon, or shop at lifeinthecredits.com. Life in Our Credits Hosts: Susan Swarner and Ben Blohm Executive Producer: Michelle Levin Logo Art: Melissa Durkin Music Composer and Performer: Steve Trowbridge

1:25 the CEO of that production 4:23 "...it's not just, Oh, we're gonna take some cameras and crew out and shoot a bunch of stuff. You know? Now, it's not that at all. It's like, where's the heartbeat of this thing? There's that visceral feeling. And when I see it, it's going to hit me in the gut. That's what it is. It's like you've got to have the experience to know that's where the story is. It's that you know, and that will make the thing go and people will tap into that. And that's what I'm good at. That's what I've learned how to do"

Our second Halloween film of 2021 is The Wolf of Snow Hollow, which is written, directed, and starring Jim Cummings of Thunder Road fame (He's possibly the Best Boy and Key Grip as well). This has been on Scott's list since its release and Kris says, “it's like a made for TV movie from a time before all movies were made for TV.” Also, can you/should you judge people based on their favorite Tarantino movie?   Talk to Us Goose www.howdyoulikethatmovie.com    

In this episode we are joined by Lee Donaldson, a Key Grip, Nancy Schreiber, a Cinematographer, and Brant Beland, a Gaffer. We learn about all of their careers, pick their brains, and hear stories from some of the best people in the business.

Robbie has nearly 40 years of industry experience in the film and television industry as a key grip, in the camera and electrical department, in visual effects, and as a production manager.Robbie is the owner of Shooting Star Aviation LLC and is their aerial coordinator. He is a passionate filmmaker and aviator, bringing to the team decades of experience in the motion picture industry. His background as key grip and his relationship with Hollywood's top directors and directors of photography give him a keen eye and understanding of what it takes to create moving and dynamic imagery.Some of his credits include Pulp Fiction, Bruce Almighty and The Longest Yard. Robbie has had the privilege of working on thousands of television commercials in Hollywood and around the world.As an aviator, Robbie has achieved his Sport Pilot license and was one of the first in the United States to achieve his Part 107 Remote Pilot license to fly drones commercially. His company, Shooting Star Aviation, was also one of the first in the country to be granted the coveted FAA 333 exemption.Learn more about Robbie at: www.shootingstaraviation.com and follow is IG: @Shooting.Star.AviationCheck out That Pop Culture Show here on this channel every week, with new episodes debuting on Fridays.That Pop Culture Show is a weekly round table talk show with celebrity guests, collectors and experts talking about and celebrating pop culture.Join hosts Kody Frederick and Jason DeBord with guests from the world of pop culture, including film, television, rock 'n' roll, sports, contemporary and street art, comic books, geek culture and more.Each episode features a profile of the guest, a discussion of current pop culture topics, and a close look at an artifact of collectable the guest has brought in to share.  This includes in-depth looks at prized pieces of memorabilia, works related to their careers, or any other interesting artifact that has meaning to them in their lives.Please like and subscribe to support our efforts to celebrate pop culture.

Cindy Cowan has done it all...Literally. Tulane grad, Harvard Master's in Psychology, TV Reporter, World-Champion Equestrian, Hollywood Producer, Emmy winner, Oscar-nominations, and a relentless philanthropist, Cindy shares her story with us on our final episode of Season 1. What better way to say, "That's a wrap" than with a true Hollywood Legend? Approachable, kind, and extremely thoughtful, Cindy reveals to us the real work behind the scenes...Spoiler alert - Hollywood is not all glitz, glamour, and red carpets!Follow Cindy at:InstagramTwitterCheck out her new venture into Decentralized Film Financing where you can be a direct investor in movies! Mogul ProductionsAND of course, take a listen to our other episodes at What The Parent?Support the show

To get the right lighting for your film, you need more than just power and lights. This week, Corey Brown, Key Grip, shares the gear he likes to help him get the lighting just right for his projects.Listen to Corey share what lighting gear he prefers to use when lighting a scene. Gear:Wag Flags Nova Aputure Connect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeSupport the showFind more filmmaking resources

This week we're talking grips, what they do, and why they're awesome."They don't suffer fools." - Bill CorneliusLinkshttps://www.infocuspodcast.comGet In TouchFollow In Focus Podcast and our hosts on Instagram: @infocuspod, @austinallen, and @bill.cornelius.Media and other inquiries, please email hello@infocuspodcast.com

Steve Jobs returned to Apple in 1996. At the time, most people had a digital camera, like the Canon Elph that was released that year and maybe a digital video camera and probably a computer and about 16% of Americans had a cell phone at the time. Some had a voice recorder, a Diskman, some in the audio world had a four track machine. Many had CD players and maybe even a laser disk player.  But all of this was changing. Small, cheap microprocessors were leading to more and more digital products. The MP3 was starting to trickle around after being patented in the US that year. Netflix would be founded the next year, as DVDs started to spring up around the world. Ricoh, Polaroid, Sony, and most other electronics makers released digital video cameras. There were early e-readers, personal digital assistants, and even research into digital video recorders that could record your favorite shows so you could watch them when you wanted. In other words we were just waking up to a new, digital lifestyle. But the industries were fragmented.  Jobs and the team continued the work begun under Gil Amelio to reduce the number of products down from 350 to about a dozen. They made products that were pretty and functional and revitalized Apple. But there was a strategy that had been coming together in their minds and it centered around digital media and the digital lifestyle. We take this for granted today, but mostly because Apple made it ubiquitous.  Apple saw the iMac as the centerpiece for a whole new strategy. But all this new type of media and the massive files needed a fast bus to carry all those bits. That had been created back in 1986 and slowly improved on one the next few years in the form of IEEE 1394, or Firewire. Apple started it - Toshiba, Sony, Panasonic, Hitachi, and others helped bring it to device they made. Firewire could connect 63 peripherals at 100 megabits, later increased to 200 and then 400 before increasing to 3200. Plenty fast enough to transfer those videos, songs, and whatever else we wanted. iMovie was the first of the applications that fit into the digital hub strategy. It was originally released in 1999 for the iMac DV, the first iMac to come with built-in firewire. I'd worked on Avid and SGI machines dedicated to video editing at the time but this was the first time I felt like I was actually able to edit video. It was simple, could import video straight from the camera, allow me to drag clips into a timeline and then add some rudimentary effects. Simple, clean, and with a product that looked cool. And here's the thing, within a year Apple made it free. One catch. You needed a Mac. This whole Digital Hub Strategy idea was coming together. Now as Steve Jobs would point out in a presentation about the Digital Hub Strategy at Macworld 2001, up to that point, personal computers had mainly been about productivity. Automating first the tasks of scientists, then with the advent of the spreadsheet and databases, moving into automating business and personal functions. A common theme in this podcast is that what drives computing is productivity, telemetry, and quality of life. The telemetry gains came with connecting humanity through the rise of the internet in the later 1990s. But these new digital devices were what was going to improve our quality of life. And for anyone that could get their hands on an iMac they were now doing so. But it still felt like a little bit of a closed ecosystem.  Apple released a tool for making DVDs in 2001 for the Mac G4, which came with a SuperDrive, or Apple's version of an optical drive that could read and write CDs and DVDs. iDVD gave us the ability to add menus, slideshows (later easily imported as Keynote presentations when that was released in 2003), images as backgrounds, and more. Now we could take those videos we made and make DVDs that we could pop into our DVD player and watch. Families all over the world could make their vacation look a little less like a bunch of kids fighting and a lot more like bliss. And for anyone that needed more, Apple had DVD Studio Pro - which many a film studio used to make the menus for movies for years. They knew video was going to be a thing because going back to the 90s, Jobs had tried to get Adobe to release Premiere for the iMac. But they'd turned him down, something he'd never forget. Instead, Jobs was able to sway Randy Ubillos to bring a product that a Macromedia board member had convinced him to work on called Key Grip, which they'd renamed to Final Cut. Apple acquired the source code and development team and released it as Final Cut Pro in 1999. And iMovie for the consumer and Final Cut Pro for the professional turned out to be a home run. But another piece of the puzzle was coming together at about the same time. Jeff Robbin, Bill Kincaid, and Dave Heller built a tool called SoundJam in 1998. They had worked on the failed Copeland project to build a new OS at Apple and afterwards, Robbin made a great old tool (that we might need again with the way extensions are going) called Conflict Catcher while Kincaid worked on the drivers for a MP3 player called the Diamond Rio. He saw these cool new MP3 things and tools like Winamp, which had been released in 1997, so decided to meet back up with Robbin for a new tool, which they called SoundJam and sold for $50.  Just so happens that I've never met anyone at Apple that didn't love music. Going back to Jobs and Wozniak. So of course they would want to do something in digital music. So in 2000, Apple acquired SoundJam and the team immediately got to work stripping out features that were unnecessary. They wanted a simple aesthetic. iMovie-esque, brushed metal, easy to use. That product was released in 2001 as iTunes. iTunes didn't change the way we consumed music.That revolution was already underway.  And that team didn't just add brushed metal to the rest of the operating system. It had begun with QuickTime in 1991 but it was iTunes through SoundJam that had sparked brushed metal.  SoundJam gave the Mac music visualizers as well. You know, those visuals on the screen that were generated by sound waves from music we were listening to. And while we didn't know it yet, would be the end of software coming in physical boxes. But something else big. There was another device coming in the digital hub strategy. iTunes became the de facto tool used to manage what songs would go on the iPod, released in 2001 as well. That's worthy of its own episode which we'll do soon.  You see, another aspect about SoundJam is that users could rip music off of CDs and into MP3s. The deep engineering work done to get the codec into the system survives here and there in the form of codecs accessible using APIs in the OS. And when combined with spotlight to find music it all became more powerful to build playlists, embed metadata, and listen more insightfully to growing music libraries. But Apple didn't want to just allow people to rip, find, sort, and listen to music. They also wanted to enable users to create music. So in 2002, Apple also acquired a company called Emagic. Emagic would become Logic Pro and Gerhard Lengeling would in 2004 release a much simpler audio engineering tool called Garage Band.  Digital video and video cameras were one thing. But cheap digital point and shoot cameras were everwhere all of a sudden. iPhoto was the next tool in the strategy, dropping in 2002 Here, we got a tool that could import all those photos from our cameras into a single library. Now called Photos, Apple gave us a taste of the machine learning to come by automatically finding faces in photos so we could easily make albums. Special services popped up to print books of our favorite photos. At the time most cameras had their own software to manage photos that had been developed as an after-thought. iPhoto was easy, worked with most cameras, and was very much not an after-thought.  Keynote came in 2003, making it easy to drop photos into a presentation and maybe even iDVD. Anyone who has seen a Steve Jobs presentation understands why Keynote had to happen and if you look at the difference between many a Power Point and Keynote presentation it makes sense why it's in a way a bridge between the making work better and doing so in ways we made home better.  That was the same year that Apple released the iTunes Music Store. This seemed like the final step in a move to get songs onto devices. Here, Jobs worked with music company executives to be able to sell music through iTunes - a strategy that would evolve over time to include podcasts, which the moves effectively created, news, and even apps - as explored on the episode on the App Store. And ushering in an era of creative single-purpose apps that drove down the cost and made so much functionality approachable for so many.  iTunes, iPhoto, and iMovie were made to live together in a consumer ecosystem. So in 2003, Apple reached that point in the digital hub strategy where they were able to take our digital life and wrap them up in a pretty bow. They called that product iLife - which was more a bundle of these services, along with iDVD and Garage Band. Now these apps are free but at the time the bundle would set you back a nice, easy, approachable $49.  All this content creation from the consumer to the prosumer to the professional workgroup meant we needed more and more storage. According to the codec, we could be running at hundreds of megabytes per second of content. So Apple licensed the StorNext File System in 2004 to rescue a company called ADIC and release a 64-bit clustered file system over fibre channel. Suddenly all that new high end creative content could be shared in larger and larger environments. We could finally have someone cutting a movie in Final Cut then hand it off to someone else to cut without unplugging a firewire drive to do it. Professional workflows in a pure-Apple ecosystem were a thing.  Now you just needed a way to distribute all this content. So iWeb in 2004, which allowed us to build websites quickly and bring all this creative content in. Sites could be hosted on MobileMe or files uploaded to a web host via FTP. Apple had dabbled in web services since the 80s with AppleLink then eWorld then iTools, .Mac, and MobileMe, the culmination of the evolutions of these services now referred to as iCloud.  And iCloud now syncs documents and more. Pages came in 2005, Numbers came in 2007, and they were bundled with Keynote to become Apple iWork, allowing for a competitor of sorts to Microsoft Office. Later made free and ported to iOS as well. iCloud is a half-hearted attempt at keeping these synchronized between all of our devices.  Apple had been attacking the creative space from the bottom with the tools in iLife but at the top as well. Competing with tools like Avid's Media Composer, which had been around for the Mac going back to 1989, Apple bundled the professional video products into a single suite called Final Cut Studio. Here, Final Cut Pro, Motion, DVD Studio Pro, Soundtrack Pro, Color (obtained when Apple acquired SiliconColor and renamed it from FinalTouch), Compressor, Cinema Tools, and Qmaster for distributing the processing power for the above tools came in one big old box. iMovie and Garage Band for the consumer market and Final Cut Studio and Logic for the prosumer to professional market. And suddenly I was running around the world deploying Xsan's into video shops, corporate taking head editing studios, and ad agencies Another place where this happened was with photos. Aperture was released in 2005 and  offered the professional photographer tools to manage their large collection of images. And that represented the final pieces of the strategy. It continued to evolve and get better over the years. But this was one of the last aspects of the Digital Hub Strategy.  Because there was a new strategy underway. That's the year Apple began the development of the iPhone. And this represents a shift in the strategy. Released in 2007, then followed up with the first iPad in 2010, we saw a shift from the growth of new products in the digital hub strategy to migrating them to the mobile platforms, making them stand-alone apps that could be sold on App Stores, integrated with iCloud, and killing off those that appealed to more specific needs in higher-end creative environments, like Aperture, which went ended in 2014, and integrating some into other products, like Color becoming a part of Final Cut Pro. But the income from those products has now been eclipsed by mobile devices. Because when we see the returns from one strategy begin to crest - you know, like when the entire creative industry loves you, it's time to move to another, bolder strategy. And that mobile strategy opened our eyes to always online (or frequently online) synchronization between products and integration with products, like we get with Handoff and other technologies today.  In 2009 Apple acquired a company called Lala, which would later be added to iCloud - but the impact to the Digital Hub Strategy was that it paved the way for iTunes Match, a  cloud service that allowed for syncing music from a local library to other Apple devices. It was a subscription and more of a stop-gap for moving people to a subscription to license music than a lasting stand-alone product. And other acquisitions would come over time and get woven in, such as Redmatia, Beats, and Swell.  Steve Jobs said exactly what Apple was going to do in 2001. In one of the most impressive implementations of a strategy, Apple had slowly introduced quality products that tactically ushered in a digital lifestyle since the late 90s and over the next few years. iMovie, iPhoto, iTunes, iDVD, iLife, and in a sign of the changing times - iPod, iPhone, iCloud. To signal the end of that era because it was by then ubiquitous. - then came the iPad. And the professional apps won over the creative industries. Until the strategy had been played out and Apple began laying the groundwork for the next strategy in 2005.  That mobile revolution was built in part on the creative influences of Apple. Tools that came after, like Instagram, made it even easier to take great photos, connect with friends in a way iWeb couldn't - because we got to the point where “there's an app for that”. And as the tools weren't needed, Apple cancelled some one-by-one, or even let Adobe Premiere eclipse Final Cut in many ways. Because you know, sales of the iMac DV were enough to warrant building the product on the Apple platform and eventually Adobe decided to do that. Apple built many of these because there was a need and there weren't great alternatives. Once there were great alternatives, Apple let those limited quantities of software engineers go work on other things they needed done. Like building frameworks to enable a new generation of engineers to build amazing tools for the platform! I've always considered the release of the iPad to be the end of era where Apple was introducing more and more software. From the increased services on the server platform to tools that do anything and everything. But 2010 is just when we could notice what Jobs was doing. In fact, looking at it, we can easily see that the strategy shifted about 5 years before that. Because Apple was busy ushering in the next revolution in computing.  So think about this. Take an Apple, a Microsoft, or a Google. The developers of nearly every single operating system we use today. What changes did they put in place 5 years ago that are just coming to fruition today. While the product lifecycles are annual releases now, that doesn't mean that when they have billions of devices out there that the strategies don't unfold much, much slower. You see, by peering into the evolutions over the past few years, we can see where they're taking computing in the next few years. Who did they acquire? What products will they release? What gaps does that create? How can we take those gaps and build products that get in front of them? This is where magic happens. Not when we're too early like a General Magic was. But when we're right on time. Unless we help set strategy upstream. Or, is it all chaos and not in the least bit predictable? Feel free to send me your thoughts! And thank you…

Dolly Grip, Heath Neptune (he/him), shares about about the amazing work he does to build rigs that make the impossible shots possible, to keep actors and crew safe, and about why he loves his job and working in Atlanta, a rapidly growing production location. We also share exciting news about how Netflix plans to increase diversity and representation in the industry. Full episode transcript is available on our website, www.fullpicturepodcast.com Want more? Support us via Patreon to access special bonuses! Key Terms: Grip Department - department responsible for all of the setups (rigs) that hold camera gear and lighting, any equipment that needs to be hung and secured to something. Martini Shot - code for the final shot of the day Transportation - often referred to as "Transpo", these individuals are responsible for driving the trucks full of equipment from their storage location, to the shooting location and back again at the end of the day. Key - a shortened version of the role of the Key Grip, who is the head of the grip department Walkaway - when you leave almost all of the gear still built in the location so you can continue the next day Cash & Prizes - sometimes this is how the crew refers to the most expensive equipment on set, like sliders, stabilizers, etc. Sliders - small mini dollies that are generally setup on two tripods and only have a few feet of track Rig - any setup that holds a piece of equipment Rigged Up - when a piece of equipment has been setup up and secured to a rig Best Boy - the 2nd in command, the right hand man to the Key Grip Camera Coffin - a box that holds the camera when it is fully assembled that allows the camera to be stored overnight on location without having to take each piece apart and put away separately Remote Head - a "head" is the top piece of a tripod that allows the camera to move around. A remote head is a head that can be controlled wirelessly instead of manually like a normal tripod. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/fullpicturepodcast/support

Episode 34 What I discuss in this video has been discussed for thousands of years. How do our minds make sense of the world we see? Imposter bias is real. Some people think that they may not be good enough for a certain task, while others see them as overqualified. Research shows that we tend to overvalue our decisions or actions while devaluing the decisions or actions of others. We believe we would have acted with moral strength in a situation where someone else did not, in our view. Our minds are a movie. Is my mind’s movie real? Is yours? Is there a universal reality that exists independent of our own thoughts and feelings and judgments and assumptions? Can the movie in our minds misrepresent what we see in the world? What does any of this have to do with Leadership? Hopefully, some of these questions serve as good dinner or watercooler or video conferencing talk over the coming days. Just kidding. Season One: Foundations of Leadosophy Leadosophy is the fusion of leadership and philosophy. We use philosophical thought to deepen our understanding of leadership together.

7-time Emmy nominated producer Bruce Rand Berman sits down with key grip Dan Wells, whose credits include hit TV shows iCarly, King Of Queens, Rules of Engagement, Dr. Ken and most recently, One Day At A Time. Dan answers the frequently asked question, "What's a grip!?", gives the insiders' scoop on what being a key grip is really all about, what someone who might be considering it would have to do to break in......and lets you in on his own Hollywood story as he talks about his career, his life and all the different projects he's worked on.

A Key Grip works with the Gaffer and the Director of Photography to help oversee electric and rigging crews on a set. They’ll work with these teams to execute lighting and camera movements with a variety of equipment. A Visual Effects Key Grip differs from a key grip in that they specialize in unique lighting techniques and camera technologies that make those iconic action shots from some of your favorite movies possible. Today, our host, Oklahoma-based writer, director, and filmmaker Noble Banks speaks with Key Grip and Visual Effects Key Grip Craig “Cowboy” Aines, whose credits include Dr. Dolittle 2 and Happy Gilmore.

Paul Kemp is a key grip working on features and dramas in the UK. His credits include Peaky Blinders s5, Britannia s2, Black Mirror, In Darkness, Silent Witness, Fortitude and many more.  In this hugely informative episode we cover the role of the grip, the union and NVQ system in the UK, methodologies for working with dolly, handheld, and technocrane, and much much more! Check out Paul's instagram below: https://www.instagram.com/beargripsuk/ --- Follow Cinematographers On The Loose on Instagram and Facebook: https://www.instagram.com/cinematographersontheloose https://www.facebook.com/pg/Cinematographers-On-The-Loose-104520677909322/

EPISODE 28 - GARY HYMNS - Key Grip This is part 2 of a two part episode series where Team Deakins talks key grips. This episode features a very renown British key grip who walks us through the British system of gripping. Because he worked with us on 1917, we delve into the details of how certain shots were accomplished in that film as well as learning details from some of his other films. You’ll understand why there was a lot laughing on the set of 1917 after hearing his humorous commentary! RECOMMENDED EPISODE VIEWING: 1917

EPISODE 27 - MITCH LILLIAN - Key Grip This is part 1 of a two part episode series where Team Deakins talks to key grips - one American, one British. Team Deakins discusses with these talented technicians how the very different systems work for grips in the states and the UK and how there responsibilities change between the countries and even between the states in the US! Mitch shares with us the challenges of gripping and how he figures out how to do what he is so good at doing! If you’ve ever wondered exactly what a grip does on a motion picture production, these two episodes will fill you in!

This week's episode is pretty exciting because as you know this podcast is called Best Girl Grip which is play on words for the role on a film set called Best Boy Grip, meant to highlight the historical and in fact present tense lack of women within the film industry. And this week I am actually speaking to a grip, to hear about that role and what it is. So I’m hoping that 58 episodes into the life of this podcast, it will all finally make sense. The grip in question is the delightful Rebecca Horsburgh, who has worked on lots of brilliant British films including Free Fire, Films Stars Don’t Die in Liverpool, Journeyman, Stan & Ollie, Rocks and also has credit on Chloe Zhao’s upcoming Marvel film The Eternals. We chat about how she learnt about this rather lesser known role in the camera department, what it is she’s responsible for, how she built her confidence in the role and what’s it like being one of very few women in the profession. I’m so grateful that Rebecca spared the time in lockdown to talk to me, because even though the podcast bears the name grip, it’s something I don’t have a lot of knowledge about, so I was just excited to learn from her and I hope you do as well.

On this episode of Reel Insider News, the boys discuss the death of comedy legend Carl Reiner, Sony's efforts to help during the pandemic, the condition of AMC and Regal Cinemas, two new shows from Netflix and Apple TV, and discuss Georgia's imminent future. Then Jeff and Brandon interview industry veteran Eric Boyle about the life and times of a rock-star turned key grip. If you're interested in vintage drums, check out Eric's vintage drum eBay shop: https://www.ebay.com/str/drumjunkiesdrumshop

In episode eleven, underwater key grip Nicholas "Sodapop" Franchot chats with host Brett Stanley to discuss working alongside underwater camera operators, like Ian Takahashi and Pete Romano, how he got into the film industry, why he finds vacuuming the bottom of swimming pools like meditation, how he got electrocuted in Brazil and how to avoid getting a rash from a pee-filled hot tub.Discuss the episode in our facebook group.Visit our YouTube for livestreamsFollow Sodapop: IMDB, InstagramSupport the show (https://www.buymeacoffee.com/brettstanley)

Kevin Ball has stories that leave people saying, “no way, that sounds like something you’d see in a movie!" and we’re so happy he agreed to sit down with me, Kari, Jenny, and Erin on a recent marathon zoom happy hour. In this four-episode series, he takes us from running away from home in the 70’s when he was just 15, joining and working carnivals for almost two years as a runaway and then joining the navy at 17 and becoming an aviation anti-submarine warfare operator. Currently, Kevin works in the film industry as a Key Grip and has for 30 years and we hope to have him on in future episodes to tell some of those crazy stories, but let’s start where we are… with Kevin’s interesting stories about leaving home, the carnival, and joining the navy. These stories were recorded during a fun marathon zoom happy hour attended by four out of five sisters with some of the brothers-in-law and rotating in and out, which explains the sound quality and some of the hubbub you might hear in the background. ​- Join us on Facebook! https://www.facebook.com/groups/howinthehelldidIgethere/- Follow us on Instagram @kimaflodin or @howinthehellpodcast- Share your love for the show with financial support! https://buymeacoffee/thecoloringbookcoach- Subscribe to my other podcast: How to Fall in Love with Yourself TOOLKIT- Thank you YouTube Free Music Audio Library & Silent Partner for our theme song, 7th Floor Tango and ad music, Blue Skies   https://www.youtube.com/channel/UCht8qITGkBvXKsR1Byln-wA

In this episode...Key Grip Chris Weisehahn chats with us today about Set Safety, Film Crews, and his own Covid-19 symptoms.The anger and frustration is still real as we learn that the Paycheck Protection Program has run out of funds.https://www.newsandguts.com/small-business-loan-fund-is-emptyThe AICP warns production companies that the DGA is requiring a new form to be filled out for all commercial projects to determine whether or not a director is allowed to work remotely.http://www.mmsend85.com/link.cfm?r=XhVZ9q6v_fCwSWyBwL_XEQ~~&pe=QE9RIqPG5usMr4dEeU09HFyrmssxrfg_5VbQneZSL1A3KuDzdMZMCtmJc2S75-MJkHmkPzwmUcLQgpoKw0WZBg~~&t=jL9mTE4daDgHEZOE3XiNwA~~California Labor & Workforce Development Agency is working with the EDD on implementing a new program called the Pandemic Unemployment Assistance (PUA).https://www.labor.ca.gov/wp-content/uploads/2020/04/Labor-Secretary-Letter-04.14.20.pdfBBDO has implemented a significant number of lay-offs, salary slashes, and furloughs.https://www.campaignlive.com/article/bbdo-ceo-andrew-robertson-addresses-lay-offs-salary-cuts-furloughs/1680519TopicsCovid-19, PUA, AICP, DGA, PPP, BBDO, Unemployment, Set Safety, Film Crews, CommercialsInterview GuestChris WeisehahnKey Grip (NYC)cdwiesehahn@gmail.comTake Actionwww.producershappyhour.com/take-actionRob Bluemke - Sound Mixer/EngineerShow Editorwww.robertbluemke.comChristopher Daniels - Creative DirectorLogo & Artwork Designwww.misterstyles.comKyle Puccia - Commercial/Theatrical Music ComposerIntro/Outro Musicwww.kylepuccia.comFollow the HostsSister Christian KendrickInsta: @sisterchristianrocksWebsite: www.sisterchristianproduces.comLawrence T. LewisInsta: @lawrenceltlProducing: www.lawrencetlewis.comVoice Over: www.voiceoflawrence.comShare Your StoryEmail: producershappyhour@gmail.com

ACTOR PJ Lajoie PRODUCTION ASSISTANT AND KEY GRIP ASSISTANT(LIGHTING) IN SILK ROAD PJ PLAYS the Medical Examiner, and PRODUCTION ASSISTANT AND KEY GRIP ASSISTANT(LIGHTING) "C.J. Clayton, believed in me and no words cannot express my many thank. I had an audition as a Club Doorman, but casted to a Medical Examiner, to which I was elated to portray." "Right away, I felt a heartwarming sense of family on this SR's set - both crew and cast!" - Peter https://www.imherewithmag.com/post/silk-road-finders-keepers-filmed-in-the-okanagan

Today's Guest is Rocky Rodriquez, Key Grip.  He works on Films and Television productions traveling thru out the country and talks about why that moment becoming an IATSE Local 80 member was so important to him.

After graduating from Chapman University Film School several years ago Oliver Young deep dived into the film scene. Initially as a Key Grip and then to working as a Director of Photography and now as a Film Director. Oliver comes from a lineage of filmmakers; his father actually met his mother on a horror film set that he directed and his mother acted in. In this episode, we discuss highlights from his upbringing such as epic family dinners with Ray Bradbury and Ray Harryhausen. I've been working with Oliver several years ago and he's one of the most talented and friendly filmmakers that I know. Make sure to tune in to this one for some incredibly epic tales! Music from https://filmmusic.io:"Gnarled Situation" by Kevin MacLeod (https://incompetech.com)License: CC BY (http://creativecommons.org/licenses/b...)Coyote Studios, LLC 2019#level10tv #TalesFromTheCrew

Jim Sanfilippo is president, founder and CEO of Nila Inc. Before starting Nila in 2004 Jim spent 21-years behind the camera as a Lighting Designer and Key Grip in motion picture and television production. Jim shares with us how LEDs are revolutionizing the guest experience for visitors at your venues. Not only are LED’s more sustainable than traditional lights, they provide superior ROI.

Behind the Screen Series: The Lightbenders, Part 1 In this special sub-series of Third World Cinema Club, we take a look at the people involved in film production, whose work audiences see and feel on screen, but might not know about. For this episode (and in celebration of International Women’s Month), we talk to two cinematographers: the people responsible for capturing the images we see on screen. Sleepless (2015) Tey Clamor is responsible for some of the most beautiful films in contemporary Philippine cinema. She has collaborated with directors like Prime Cruz, creating the lush cityscapes seen in films like Sleepless (2015) and Ang Manananggal sa Unit 23B (2016). She has also done work in TV in series like Angelito: Ang Batang Ama. For her work, she has received several nominations from award-giving bodies such as FAMAS, the FAP awards, and the Star Awards for Movies. She garnered Best Cinematography for Ned’s Project (2016) at the Cinefilipino Film Festival. Mga Anak ng Kamote (2018) Cesca Lee made her debut as cinematographer in Elwood Perez’s Otso (2013), but she already has an impressive body of work. She has collaborated frequently with director Joselito Altarejos, creating the surgically precise frames of films like T.P.O. (which garnered her a nomination for Best Cinematography) and Tale of the Lost Boys. She is also cinematographer in Carlo Enciso Catu’s mindbending Mga Anak ng Kamote (2018), creating that film’s peculiar visual style, and the visual dread in films like Kenneth Dagatan’s Ma (2018) and Derrick Cabrido’s Purgatoryo (2016). Tey and Cesca talk to us about the collaborative process involved in creating images that move us, their most well-known work, the challenges facing women in the industry, and helping break the glass ceiling with their own hands. notes: This episode was recorded in Coffee Bean and Tea Leaf in Tomas Morato, QC. *On the Basis of Sex. Acronyms/Film production terms guide: AC: Assistant Cameraperson DIT: Digital Imaging Technician – responsible for image quality control, troubleshooting, on-set color correction, and managing the workflow of a production LD: Lighting Director DP/DoP: Director (of) Photography Gaffer: the chief electrician in a motion-picture or television production unit. Key Grip: the person in a film crew who is in charge of the camera equipment. OTS: Over-the-Shoulder shot. Refers to a shot of someone or something taken from the perspective or camera angle from the shoulder of another person. 50mm, 85mm, 35mm: types of lenses. The numbers represent focal lengths. F55 – a Sony PMW-F55 video camera. About Behind the Screen: This is the first part of a multi-part series about people involved in film production. Subsequent episodes aim to include cinematographers, colorists, production designers, composers, etc into the ever-widening discourse on film.

Behind the Screen Series: The Lightbenders, Part 1 In this special sub-series of Third World Cinema Club, we take a look at the people involved in film production, whose work audiences see and feel on screen, but might not know about. For this episode (and in celebration of International Women’s Month), we talk to two cinematographers: the people responsible for capturing the images we see on screen. Sleepless (2015) Tey Clamor is responsible for some of the most beautiful films in contemporary Philippine cinema. She has collaborated with directors like Prime Cruz, creating the lush cityscapes seen in films like Sleepless (2015) and Ang Manananggal sa Unit 23B (2016). She has also done work in TV in series like Angelito: Ang Batang Ama. For her work, she has received several nominations from award-giving bodies such as FAMAS, the FAP awards, and the Star Awards for Movies. She garnered Best Cinematography for Ned’s Project (2016) at the Cinefilipino Film Festival. Mga Anak ng Kamote (2018) Cesca Lee made her debut as cinematographer in Elwood Perez’s Otso (2013), but she already has an impressive body of work. She has collaborated frequently with director Joselito Altarejos, creating the surgically precise frames of films like T.P.O. (which garnered her a nomination for Best Cinematography) and Tale of the Lost Boys. She is also cinematographer in Carlo Enciso Catu’s mindbending Mga Anak ng Kamote (2018), creating that film’s peculiar visual style, and the visual dread in films like Kenneth Dagatan’s Ma (2018) and Derrick Cabrido’s Purgatoryo (2016). Tey and Cesca talk to us about the collaborative process involved in creating images that move us, their most well-known work, the challenges facing women in the industry, and helping break the glass ceiling with their own hands. notes: This episode was recorded in Coffee Bean and Tea Leaf in Tomas Morato, QC. *On the Basis of Sex. Acronyms/Film production terms guide: AC: Assistant Cameraperson DIT: Digital Imaging Technician – responsible for image quality control, troubleshooting, on-set color correction, and managing the workflow of a production LD: Lighting Director DP/DoP: Director (of) Photography Gaffer: the chief electrician in a motion-picture or television production unit. Key Grip: the person in a film crew who is in charge of the camera equipment. OTS: Over-the-Shoulder shot. Refers to a shot of someone or something taken from the perspective or camera angle from the shoulder of another person. 50mm, 85mm, 35mm: types of lenses. The numbers represent focal lengths. F55 – a Sony PMW-F55 video camera. About Behind the Screen: This is the first part of a multi-part series about people involved in film production. Subsequent episodes aim to include cinematographers, colorists, production designers, composers, etc into the ever-widening discourse on film.

In this episode we talk about the finalization of the Disney/Fox deal and the news of James Gunn coming back to direct Guardians Of The Galaxy 3 plus more.Subscribe: bit.ly/2C5j2iUPatreon: bit.ly/2EgY0z1SoundCloud: bit.ly/2GdVOv7Itunes: apple.co/2rz17e5Twitter: bit.ly/2rvmjltInstagram: bit.ly/2rwCRcTFacebook: bit.ly/2EpPzCwVisit our Patreon @ patreon.com/3ninjaspodcastShoutout to our sponsor Pink City. Visit their website at www.pinkcity.ca and use the coupon code "3ninjaspod" and receive 10% off your purchase.Check out Domino's Youtube Channel "Round 12 Gaming" www.youtube.com/channel/UC3b6oXCZIAes-fB5IYpLG2AYou Got questions, Ninjas got answers. Tweet, DM or email us questions for our "Ask a Ninja" segment at 3ninjaspodcast@gmail.com|Follow the team| @3NinjasPod on Twitter @3NinjasPodcast on IG @HK_Domino @HeshJones @EmProdaBob

In this week we sit down with filmmaker Neil Macdonald to talk all about the Burton-Schumacherverse Batman films! Join us in our deep dive of all four of these Batman modern classics... three classics....two?...You decide! Sponsored by Great Lakes Grooming Co.  Intro Music by Aaron Barry Find more great podcasts like this on Brain Freeze To ask questions for the next episode, or to continue the conversation online visit us here: On Twitter On Facebook  On Instagram On our Website Or check out our new store for merch And our NEW Patreon!   Meet Neil Macdonald (1:53) What Neil does (4:15) Film school (5:50) Describing Neil's asthetic (11:00) Neil's career path (14:10) Neil's comic history (16:50) Memories of the Burton-Schumacherverse (21:50) The Superman movie that almost was (23:55) The 1989 Batman film   The Burton-Schumacherverse (29:59) Worst/cheapest special effect in Batman & Robin, Robin being trapped in Ivy's vines. (34:41) Confirming that the only good one is the first one? (39:46) Bane.  Explain. (48:03) Recasting a villain, adding villains, adding members of the Bat-family, casting Batman. (59:27) Continuing the universe after Batman & Robin. (1:03:20) What should have been carried over from the films to the comics? (1:13:29) What story arcs did the films draw from? (1:20:30) Which one is the guilty pleasure? (1:27:41) Which actor gave the best villain performance? (1:34:05) Why is Batman Forever named Batman Forever? (1:40:48) What unique to the movies worked and what didn't? (1:44:02) Casting Harley Quinn. (1:48:13) Reimagining the Burtonverse to fit the Evil Alfred narrative. (1:52:36) Was Tim Burton's Batman "killing" an issue for fans?   Dial Doc (1:59:29) The Projectionist (2:01:05) The Willow Man (2:01:55) The Key Grip   Characters, Places, Things **All links reference the character 's Burtonverse appearance unless otherwise noted** Bane (Bane) (Nolanverse) Batgirl Batman (Burtonverse) (Nolanverse) Catwoman (Burtonverse) Harvey Dent (Burtonverse) (Nolanverse) Jason Woodrue Joker (Burtonverse) (Nolanverse) Man-Bat (PreFlashpoint) (Rebirth) Max Schrek Mister Freeze Penguin Poison Ivy Riddler Robin Scarecrow (Nolanverse) Solomon Grundy (PreFlashpoint) (Rebirth)   Recommended Reading & Viewing Batman: No Man's Land Batman: Year One Batman (1989 Film) Batman Returns Batman Forever Batman & Robin   People Joel Schumacher (Wiki) Kevin Smith (Twitter) (Instagram) Neil Macdonald (Website) (Twitter) (Instagram) Tim Burton (Wiki)

This is a special episode of the Crew Only podcast where I got to sit down and talk to Gabe Chavez who worked as a Key Grip on Spike Lee's Master Class. Throughout this episode expect to hear what Spike Lee talked about during the master class, behind the scenes stories from the Malcom X movie, how Spike Lee uses his influence to give people of color jobs and more about being a person of color in the film industry. We even touch on the topic of gentrification. The amazing thing about this episode is that it embodies everything about film-making. We are in a industry where we have the ability to tell stories about any and everything. Let me know what you think about this episode. As always don't forget to rate, write a review and subscribe to the channel!

In this episode I spoke with my friend Wells Smith, a veteran, salt of the earth key grip. He is an unforgetable guy and has the stories and wisdom to prove it! He has worked on films such as The Pelican Brief, True Lies, Exit to Eden, Now You See Me, The Guardian, and many more. Check out his IMDB page here.

Episode 4 - Lee Donaldson. Lee is a Key Grip who is based out of Charleston, SC, but works all over the world.Contact via:Email: thesecondstickspodcast@gmail.comInstagram: @thesecondstickspodcastTwitter: @secondstickspod

Craig "Burnie" Burns, OC Gaffer interviews Film industry professionals above and below the line.

Kevin & Steve are about to starting shooting their new show Tacoma FD. As they prep, they are joined by all star crew member Patrick Heffernan, Key Grip extraordinaire (and brother of Kevin). They chat about Tacoma FD, blue Doritos, Kevin & the Speedman, Anaconda, party at Kevin's house, Key Grip duties, Dune, sharing a trailer, Lemme as Director, readers, podcast critiques, what's abundantly clear, the legendary Burt Reynolds AND MORE! ENJOY THE CHEW!

Episode 3 Breaking our way into the Grip & Electric Department (G&E) this week we talk to Andrew Enloe who has key gripped and bested projects including short films and tv series. You can check out Andrew's website here and check out some of the projects he's worked on. Play by Play on Go90 Support Giving Credit(s) by donating to the tip jar: https://tips.pinecast.com/jar/givingcredits Find out more on the Giving Credit(s) website. This podcast is powered by Pinecast.

Richard moved to filmmaking, first as Production Designer, later Key Grip, Camera Assistant, and finally as a Cinematographer. Richard has shot over 25 feature films, usually European co-productions, both arthouse and more mainstream productions. His breakthrough came with the multi award-winning feature, Rosie. Richard's film work over the years included: Guernsey, Wolfsbergen, Nowhere Man, Little Black Spiders, Farewell To Fools, and Love & Friendship.  Richard is president of the NSC and a member of the SBC and the EFA. Additionally, he is the initiator and co-editor of a book on contemporary cinematography called, Shooting Time.

Hello! If a belly button is an outie it should be called a belly knob. Episode #356 Segmented Thusly: Movie Monologue = The Imitation Game, Alien, Get Shorty and Be Cool.  Television Talk = Olive Kitteridge  Book Banter = Stone of Farewell (Memory, Sorrow, and Thorn book #2) by Tad Williams Game Gabbin' = Resident Evil 4 Internet Intercourse = Who Charted Live at SXSW w/ Guest Scott Aukerman & Paul F. Tompkins, I Was There Too with Guest Gilbert Gottfried, PlayStation VR Coverage, Reggie Watts performs on Conan and appears on the Nerdist podcast with Chris Hardwick.

Brought to you by Dogman! Left in a pet store by his family, one man fights crime with all the powers of a domesticated dog. This week, we follow up Gigli with one of the two films that Halle Berry chose to make instead, and then went on to win a Razzie for her performance. The film also won Worst Picture, Worst Director and Worst Screenplay in the 2005 Golden Raspberries. We have high hopes for this one as it could be another bad movie sleeper that got lumped in with comic book movies like "Punisher: War Zone." Streaming Do's and Don'ts Whoops we didn't watch a single movie that we can put on our list for this week. Sorry. Instead we are doing recap of each Saturday Night Live movie in honor of the 40th Anniversary. We take each movie and average the Rotten Tomatoes score and the IMDB user rating to find out the best and the worst of the 12 films. New Segment - Pop Quiz, Hot Shot! What is/are: The Dailies? A Squib? Dramatic Irony? Eyeline-match cuts? A Best Boy? A Gaffer? A Grip? A Key Grip?

My guest Nick Franchot is a second-generation Key Grip and one smart filmmaker. His experience ensures the shoot runs smoothly. So just what does the Key Grip do? Don't Grips just lift the heavy stuff? And why does everyone keep calling Nick “Soda Pop”? Nick anticipates the DP's needs, collaborates with the Gaffer, and supports […]

Grips are some of the busiest people in the industry.  This week Brent speaks with Greg Flores, Key Grip and founder of Grip Rigs on Facebook, to find out exactly what a Key Grip does, why they’re so necessary and what you need to know to become one.

G&D 05-10-09The Baroness of Blood’s insatiable thirst for horror started when she was a toddler and she has devoted herself to film ever since. She’s been working in the film industry since she was 17 having done nearly every position from Special FX Supervisor and Assistant Producer to Key Grip and Camera and all the juicy bits in between. GG feels that her intense study and breakdown of film, coupled with vast experience on all levels of a film set, have given her unique tools and insight to bring to the table as a movie critic. Currently, she parlays that insanity on the hit radio show “The Ghostman and Demon Hunter Show”.GG loves to ghosthunt and explore the history behind haunted places and frequents key paranormal and horror events mostly as a stalker. She also teaches classes on paranormal and film in her native land called Chicago.

Interview: John Warner, Best Boy and Key Grip on Babylon 5, joins us to talk about his time on set, and making sure everyone's lit correctly and all the cameras move where they need to, and manipulation of the sets. So head on down to your nearest production, and if it's safe to get into the studio, go hug a key grip for all that they do. Source