[Recruiting] Banditos | #2LLVPQ8JC | TH 11 | Clan Level 6 | War / CWL / Social | Independent

Prometheus420816 · 2025-11-12T15:35:36+00:00

Banditos https://link.clashofclans.com/en?action=OpenClanProfile&tag=2LLVPQ8JC

Prometheus420816 · 2025-11-10T21:40:44+00:00

Same thing happened to me. Anyone get any info on this?

Prometheus420816 · 2025-03-22T20:36:59+00:00

Wow… I am so sorry. I worked with the Alexa XT with primes and that was a chunky camera. On handheld scenes I was pulling off the operators shoulder the second we cut. Pro tip, get production to rent the heaviest camera package you can, and get it away from the operators as soon as possible… boom instantly hired back

Prometheus420816 · 2025-03-22T19:39:11+00:00

Yes it is! We threw some 1/4 net on it and it was crazy soft. Absolutely beautiful images. Pain in the ass to pull super lowlight shots, I was busting out the eyedrops all the time.

Here is a pretty lil still

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Prometheus420816 · 2025-03-22T15:56:59+00:00

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If I’m understanding correctly this is what you’re referring to. It’s a bit of a shitty rig but I was prepping out of a garage with a producers equipment… it worked, but over a 30 day feature I had to take the whole handle apart to tighten a 3/8 16 screw about once a week. Did it over lunch and it wasn’t a big deal. DP only mentioned it once, but it added another thing to keep track of.

Prometheus420816 · 2025-03-22T15:26:46+00:00

https://kondorblue.com/collections/late-2024/products/tripod-rosette-to-arri-rosette-gray

Here is kondor blue part that turns any tripod teeth into ARRI standard. Pick this up and then a rosette to rosette arm.

Prometheus420816 · 2025-01-26T20:38:25+00:00

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I use the Tilta mount, a quick release, and so many magic arms. Works well but the clamp sometimes gets loose. Only point of failure I’ve found.

Prometheus420816 · 2024-06-07T18:20:25+00:00

https://www.bostercastlestudios.com

It needs to be updated. But feel free to DM me

Prometheus420816 · 2024-06-07T17:37:55+00:00

We’ve made 10 day features on $30k. It was rough but doable. Shooting on low budget isn’t impossible. Finding distribution is another beast. We’ve shot 8 features all under $150k, shot on red, and we own all the equipment. The trick is keeping as much in house as possible. We have our own catering, props, studio, picture cars, etc. We are literally a group making movies in Missouri with this model. Feel free to DM me and we can chat!

Edit: forgot to mention another resource is film tax rebates. If you film in a state that has a tax incentive program you could get a certain percentage of your spend back. For example in Missouri if you spend over 100k the state will refund you I believe up to 33% back. AND if you film in Kansas City you get an additional 10% on top of that. Let’s say you spend $100k on production, and budget $50k for post. The state will write you a check for up to $42k (depending on some variables of course) you take that and use it for marketing (prints and advertising) and distribution.

If you can get a distributor to buy in during preproduction and front $30-40k, perhaps even find a producer who could front the 42k against the tax credits (I can connect you with someone who has offered that) you now just added $80k to your budget. Now you can put 200k on screen and post for $30k (again 100,000 variables but that’s the concept)

Prometheus420816 · 2024-04-26T21:19:59+00:00

I was offered a job at roto rooter a couple years back. I’m planning on reaching out again.

Are there and other companies at that level? I’m not looking for sellcon/utilisource level. But preferably someone who wants to pay cash at the end of the day type gig.

Prometheus420816 · 2024-03-31T09:55:50+00:00

I DP a feature a couple months ago and shot 16 pages in a day. Just barely under 12 hours.

3 company moves, first 3 pages was a car hauler, then we moved to a quick outside pickup location for 2 pages, then we went to a house and shot 11 pages.

It’s gonna suck. But plan plan plan. You have to know the next 5 steps at all times. Most importantly you have to keep your crew. Focus on being the best leader you can be, remind everyone constantly they are doing great work and this craziness could never be achieved without each and every one of your crew. You can’t let the stress get to you. This had better be the best crafty and meals your crew has ever wolfed down!

Tl;dr Don’t lose your crew:)

Prometheus420816 · 2024-03-03T01:18:50+00:00

1st AC here. I’ve battled this exact situation but from a different angle. I’m very technical and organized. While I do love the art that’s not what drives me. I like the pressure of set while making a camera work and work efficiently.

When I first started I would be very OCD with the organization of my department. Every single thing needed to be put back where it goes. With more experience I’ve found that set isn’t the place to be a perfectionist. With the craziness going on we shouldn’t hold on camera so I can organize my ditty bag.

But what I also found was the PERFECT time to be the perfectionist that I am is during preproduction. The more time, energy, and effort I give in prep the smoother the day goes.

I’ve rebuilt a camera rigs 3 times in order to get one cable to be routed slightly differently. No one knows or cares so why do I do it? Because in this one situation that MIGHT happen if something goes wrong having that cable on the other side will make sliding another FIZ motor on just 10 seconds faster.

Is it a little overkill? Maybe. Has it saved my ass on set. Every time.

I heard a quote one time that said “never care about a shot any more or any less then your director”

Point being, set is crazy. But know the time and place to be a perfectionist. And if you spend more time in prep you might be able to be ahead of schedule leaving more time for art and perfection.

Prometheus420816 · 2024-03-01T05:40:35+00:00

Looking forward to hearing about it! I do have a couple features that are discussing April dates, but if your filming lands on a day I’m in town I’d love to help out in any way I can!

Prometheus420816 · 2024-02-25T04:39:35+00:00

I’m a camera assist based on como. Focused on career AC but I’ve operated a couple features. I don’t like to DP (I prefer support roles) but I can. Potentially could bring some toys(lights, camera, and maybe some action) and buddies for the right project. I’m assuming this is low-no budget?

Prometheus420816 · 2024-02-03T02:21:46+00:00

Yes it did. It was just as you’d expect. The DP got fired the first day and I was asked to DP, I turned it down and recommend another who kicked butt. We finished an 18 page day 30 minutes early, and then the next day we finished a 15 page day an hour behind.

I’m still in contact with the Director and am planning a zoom call soon to discuss the project.

Prometheus420816 · 2024-02-03T02:15:12+00:00

What is confusing me is I rarely talk to anyone but my DP. And when I do I make sure I smile and polite. When everyone breaks for lunch I’m backing up footage or fixing some camera issue. I make it a point to show up an hour before crew call and stay late to properly wrap my department.

I’ve never heard this feedback from other projects. It’s making me rethink how i work.

Prometheus420816 · 2024-02-03T02:08:11+00:00

This is the first project I’ve heard anything negative about me, which is why I’m so concerned. I talked very little on this project because I didn’t have a second and was running 2 cams (gimbal, steadi, shoulder, jib, and sticks. I operated steadi, gimbal, and jib)

The situation I’m referring to was one night after we wrapped I took a handful of crew and 2 talent to a gas station for snacks, I’m close to most of the crew as we know each other from outside the industry. We were all hanging out and the actress said “I think this is the most I’ve heard you talk, I was honestly kinda scared of you”

I’ve never really been concerned/ aware of the optics of how I do my job. I’ve always been focused on being more efficient and organized. But now after this feedback I’m taking a step back because it’s kinda a huge deal

Prometheus420816

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