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Kevin Sorensen

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Everything posted by Kevin Sorensen

  1. WTF! This came in email. Truly sad...... APOLIGIES FOR EMAIL DUPLICATIONS!! Wanted to make sure everyone got a copy of this, we are now on the ground in Birmingham in pre-production on Unknown Caller (formerly Who Am I?), a contained action/thriller feature. We are looking for the following crew positions with the pay noted, let us know if you would like to help and send your resumes/experience: POSITIONS FOR JANUARY SHOOT OF “UNKNOWN CALLER” IN BIRMINGHAM (Shooting 24x12 hour days Jan 7 to Feb 2, 2013, mostly nights, pre-production has started, would like to find local hires) STUNT COORDINATOR & STUNTMAN/WOMAN Pending script breakdown, we are thinking 6 days, $150/day and also needing a stuntman and woman, paying $100/day. SCRIPT SUPERVISOR Looking for an intern or prior assistant scripty with some experience, no pay but offering a $75 per diem allowance. If job is well done a credit will be given on the film. CAMERA OPERATOR Pay $100/day. Will be shooting primarily on Red Epic. FIRST AC Follow focus strengths a must, much hand-held camera, open lenses. Also a familiarity with Red Epic. Looking for someone with some experience/familiarity, maybe a second AC who would like to step up or quck reflex gamer who would like to learn. Unpaid position, but $75 per diem and credit on film as 1st AC if successful. PROPS/SET DESIGN/ART We will be buying most of the props, but need to have someone build, fabricate, possibly buy some and wrangle props on set along with helping with design/dressing. $650 total for preproduction work and $150/day for shoot. PA to assist Props Unpaid position, Assistant Props credit if successful and stays on film for preproduction and production helping Props person. GRIP/ELECTRIC/SWING With construction capability, small wall set pieces to be constructed etc. $200 total for preproduction work and $100/day during principal. Ideally could drive truck and maybe even a stick shift. 3 GRIP/ELECTRIC/SWING $100/day. Ideally could drive truck and maybe even a stick shift. MAKEUP/HAIR AND EFFECTS MAKEUP Bleeding and minor burns makeup as well as traditional makeup/hair, $100/day. SOUND MIXER $100/day, we have equipment. VERY important department. BOOM Unpaid position but $75 per diem allowance for an intern who has had some experience with sound. If successful at job and stays for duration of filming, credit for Boom on the film. PRODUCTION ASSISTANTS (PA’s) Two PA’s needed now, unpaid position but gas paid for errands run out of production office, credit on film after at least 12 days contribution to film. Third PA needed 10 days before shoot, and a fourth needed five days before shoot, and four needed during principal photography. Gas and film credit applies to all PA’s. PA with most time on the film will get Key PA credit. ACCOUNTING Must be able to setup Quickbooks or similar for handling production accounting. Reports needed daily on actual vs projected costs, cash flows, payroll of 1099 crew as well as W-2 cast, handling W-2 taxes, SAG accounting, wrangling receipts, managing credit cards and preparing final book for submission to auditor for film incentive credits. Senior student intern, unpaid position but $75 per diem allowance. Larry Olson, Partner The Forgery, DV3 Productions, LLC, AL Productions LLC 1901 Blue Clay Road G-2 Wilmington, NC 28405 larry@dv3productions.com 910-262-6226 mobile 866-611-5703 fax
  2. A champion of the cochlear implant. This is good story, certainly pertinent to those of us in the " listening business ". http://www.latimes.c...,0,271457.story
  3. I've seen "Lincoln" and enjoyed it at lot, wouldn't mind seeing it again. Getting the production sound on that does look like it was a daunting task. Another dialog-intensive major studio picture this year is "Clowd Atlas". I felt the production and post sound was a bit better and an equally if not more daunting task. And I wouldn't mind seeing it again either.
  4. The shelves are made from plastic peg board. the angle aluminum, from Home Depot or Lowes.
  5. I never did keep that kind of information on the booms. They were supplied by the particular studio lot you were working at, at the time. Many of them became dented, dinged, beat up and generally not maintained. At times to noisy to use and eventually the way they began to build sets more like practicals, they became unusable. Hence one had to become well versed with fish poles. We did carry one with us on the camera truck on some of the shows I worked on back in 80's.
  6. Phil, That is a # 2 arm. The articulating turret had not been invented yet, as this base ( #3 ) and arm are around 60 years old by now. Hopefully its been recycled. That is T powered Sennheiser 415, in an Electro Voice hanger ( shock mount ). The thing in-between the turret and hanger is from a Moviola ( for film editing ) its body is solid rubber and it helped reduce boom rumble.
  7. This was the Fisher Boom I used on the first show that I moved up to boom on. In the early 1980's.
  8. Could you be more specific about " Stan " ? I am not familiar with this product. maybe show a picture, thanks.
  9. Yes Jeff, the one I used is different from the one you used. The plastic is ABS and easy to drill, no cracking issues. I have seen magliner type copies at home depot for around a $100 or so. The Rastorder cart is definitely a winner imho. All cart owners with pnenmatic tires will be rewarded with very few, if any flat tires, if they put this stuff in the inner tubes.
  10. The re-inforcing I did, to the Milwalkee dolly, has made it quite rigid. Purchased from home depot, along with the 1/8 thick by 1 inch 3 foot long aluminum bars. Then pop-riveted into place with 3/16 inch rivets. Handy hint: Put some green Slime in the tires, it helps keep them from losing air, due to sitting a long time or thorns.
  11. I have been using a Carvin Stagemate S400 D ,10 inch,100w, powered. on Reasonably priced. Can use an onboard battery, 35 lbs.
  12. Does anyone know if these foam backs are still available ? Or does anyone have one they want to get rid of? I could use 1 or 2 more, Thanks.
  13. Its basically an in-line on and off switch. Radio Shack has them. I had to fatten the body a bit by wrapping gaffers tape around it, at the top and bottom. I use it for getting the 50 into a zepplin also.
  14. I remote the long whip antenna part that comes with a phase right, on a short coaxial cable w/adaptor. The BST 25 sits adjacent to the venue. No issues.
  15. The articulator up close. The best thing to ever happen to the Fisher ! We used a small XLR extension with an Sennheiser MKH 50.
  16. No monitors Phil. No time to sit, 23 pages average day. Good rapport w/cam ops. Three REDS, talk about fan noise during rehearsals !
  17. Yes, the right wheel out always when standing on the platform. If you look carefully at the picture you will see a sand or two on the base's frame for added safety. Which I would do when using an off set arm, in addition to pulling out the other wheel. BTW, that is John jr. pushing dad :~)
  18. Indeed Malcolm, Laurence is speaking from a great deal of experience. I am extremely safety conscious when employing JL Fisher Booms on the set and hound the boom operators to always be mindful when moving, using or storing. I am a pain the neck for them sometimes, I'm sure, but I will not have one go down on my watch. I can assure you that there is nothing unsafe happening in that photo, just another day at the "office". I learned to operate them back in he very early 80's. Cheers, Kevin Sorensen
  19. John Sheridan operating on the set of "Holliston"
  20. I always was a fan of Jethro Tull, but never saw singer Ian Anderson this close up, quite expressive!
  21. Could be a good sound van, The ramp comes out and goes back by the push of a button.
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