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John Hannukaine, my longtime close friend recently said he reaches for my brushes before he reaches for the brushes with his name on them, thought that was quite a nice compliment from a close friend, John and I have worked many shows right next to one another up in his state of Washington, great memories…
Listen to me when I say, I've been fighting with my stand like the last remaining teeth on the torn up gum line of a crack head . I needed this video! Edit: Also, I made a B line to my C stand and D-Damn it worked! Can't wait to show these skills off in the field .
I am so grateful this is still up on RU-vid, as I am just learning how to my C-stands effectively. Also, it is reminding me that gloves are a good idea when handling this heavy gear.
Great tutorial! How many c-stands is a good number to own for an indie filmmaker? I'm just thinking the number of lights times the number of diffusers times the number of black negative fill can really start to add up. From experience, how many c-stands do you tend to use per scene?
Really helpful in understanding the best practices as well as the hidden and not always obvious features of C Stands. Thanks for making and posting this.
You should sell this video to every retailer of C-Stands in America, no joke. This is what people should show their helpers & as their first introduction.
The leaf on the tattoo parlour window looked as if it was dutch gold, loose leaf and was done like one would do matted centers. I learned the craft from Larrey Albaugh, who's sign shop in Colorado was the start of the Letterheads movement, and we did windows with both water guilded outlines and matted centers using quick size, or resin size.
Some pretty rough work represented here. Do you know Rick Flores, one of the originals from Colorado. Seems like your name came up in our conversations. Worked with him at Disney, played in his band. He retired on medical leave, and moved to Idaho. I retired with 28 years with Disney. 46 years total in the craft.
