Green Glue Acoustic “Glue” Sound Dampening

I am finishing up building a music/film-editing studio, and one of the final steps of construction (before I start appointing the interior and gadgets) is finishing the walls… which is to say, finishing the acoustic enhancement to “typical” walls.  This involves two layers of 5/8” drywall with a special layer of “magic” in between.

The magic is called Green Glue.  The name is a bad choice (Green Goo, perhaps… or maybe Oobleck, if they  could get the rights from Dr. Seuss), because it’s not glue at all, and this seems to confuse a lot of people.  You can’t use GG to adhere the two sheets of drywall.  It doesn’t work anything like construction adhesive (i.e. Liquid Nails).  This actually comes up quite a bit in forum discussions, but the fact of the matter is that if you used Liquid Nails in the same way you would Green Glue, it’s likely that your acoustic dampening would actually be reduced instead of increased. Liquid Nails becomes rigid when it dries, so it is possible that it would simply turn your wall into a giant drum head, actually increasing reverberation and reflection (no absorption of sound waves, and instead more reflection).

Green Glue claims that their product converts vibration into heat.  It remains flexible, and thus absorbs sound waves/vibration rather than allowing them to reflect back or transmit through the wall material.

My research regarding Green Glue actually began with this “why is it any different than Liquid Nails?” question –I was wondering if I could use Liquid Nails in the same way one would use Green Glue.  You can sift through hundreds of pages of third party technical data like I did, or, you can go the quick route and take my word: Green Glue is worlds apart from Liquid Nails.  If Liquid Nails was an elephant; Green Glue would be a Blue Heron (or perhaps a slug, considering the sticky goo factor).

After deciding that Green Glue was worthwhile (and worth the rather high price when compared to Liquid Nails, which, again, is not even REMOTELY similar), I ordered a 5 Gallon bucket of the stuff from Amazon… probably a mistake.  I highly recommend going a more direct and productive route.  The attention and specificity you will get from someone who knows what they are selling (like Ted White, co-founder of Green Glue, now owner of The Sound Proofing Company) are worth their weight in gold… and you will actually get a BETTER PRICE on what you need (not to mention complete and detailed instructions, vs. just a bucket in a box).  The only downside is you have to actually communicate with a human. The Sound Proofing Company won’t sell you anything until you fill out a little online form telling them about your project, and then wait for someone to get back to you. Not a good system for impatient people who don’t like talking on the phone –like me (which is why I ordered from Amazon before realizing the above route might be better).

I paid $215 plus $15 shipping for the 5 gallon bucket on Amazon.  Ted tells me he sells a 5 gallon bucket for $198.  Here’s the kicker though… on Amazon, the special applicator (a 32 oz., specialized caulking gun called a Speedload Dispenser) sells for $56 plus shipping.  Ted let me know his company sells the gun (which he helped develop) for only $29 (though their website indicates otherwise, so you’ll need to contact them directly).

I actually became acquainted with Ted because I was trying my damnedest to avoid purchasing that applicator.  I didn’t want to “throw away” $60 on an applicator that I would use once and never again.

I was hoping I could use a trowel to apply the Green Glue, and this method is actually encouraged by several “licensed” resellers of the product.  I can assure you, the guys who invented the glue and a bunch of other people who chimed in on the message boards get REALLY upset when you talk about using a trowel.

The consensus is that you are supposed to use two loads of Green Glue from the Speedload Applicator with the tip cut to 3/8” and a bead applied in a spaghetti type pattern.  PERIOD.  No other application method will deliver the desired results.  I’m serious, guys.  The people who claim to know the most about this product will get REALLY PISSED OFF if you try and go any other route (I got pretty beat up on several message boards). Seriously. They get really mad… which is weird, because the manufacturer of the product and many, many other official resellers say it makes NO DIFFERENCE whatsoever what pattern you apply the glue, and also what thickness of bead should be used.

For what it’s worth, the written materials that come with the tubes tell you to cut the nozzle to 3/8” and apply one load in one direction and the second load in a perpendicular direction (no mention of spaghetti or any sort of randomness). The Speedload Applicator comes with nozzles pre-cut to 3/8”.

The literature that comes with the applicator also clearly states: “…Lines, squiggles, plops, etc. The pattern isn’t an issue, it’s the amount being used. The Green Glue needs to be roughly even across the board.” They even show one example pattern that is extremely uniform… which supports the use of a trowel. And one of the photos of the application shows Green Glue literally just “plopped” onto the drywall.

The “makers of Green Glue” (the people now running the company) could clearly care less about the application pattern of the product.  They also think 1/4” is fine for the bead.  Or 3/8”. Or whatever. Another site, SoundIsolationStore.com, says: “A larger tip opening on the nozzle to speed up application will still yield the same results as applying Green Glue Compound with a smaller bead.” They go on to say: “No specific coverage pattern is necessary to ensure excellent results.  Apply at least semi-evenly over the correct amount of square footage per tube and you will succeed.”

This YouTube video DIRECTLY from Green Glue Company, LLC (“copyright Green Glue Company, LLC 2008”) shows a person “spooging” Green Glue onto drywall in streams and globs.  Not the spaghetti technique.  Not the two directions technique. And very much NOT a uniform bead of Green Glue (anywhere from what looks like 1/4” thick to maybe nearly 2” thick).

This video directly from the Green Glue Company website regarding installing GG with the speed gun applicator from a 5 gallon bucket says you should cut the nozzle to 1/4” (not 3/8” like I was told is a MUST). It should be noted for shits and giggles that  the hole the guy cuts in the nozzle in the video looks like you could drive a truck through it.  This video directly from the GG website regarding installing with 28 oz. tubes also says 1/4” (not 3/8”). Both videos show the person applying a straight line “2 to 3 inches from the edge” all the way around the perimeter of the drywall sheet before treating the rest of the board. The “5 gallon bucket” video also says you should pull the plunger on The Speedload Applicator 2-5 times before starting in order to lubricate the gun, but makes no mention of adding any lubricant.  To my knowledge, the guns don’t come pre-lubed, and in fact, the instructions that came with mine make a rather lengthy point of how to add WD-40 at various places to lubricate the gun before beginning. This 5 gallon bucket video also notes that one tube of GG is only about 70% as effective as two tubes.  Both videos go on to say “the application pattern does not matter so long as you have distributed the compound evenly across the drywall.” I got SO MUCH SHIT on various discussion boards for asking WHY the spaghetti pattern was the only way to do it. (Also, the idea that the application pattern doesn’t matter leads me to believe that applying with a trowel is totally fine).  The video also says that no treatment of the first layer of drywall is necessary (I mudded all the seams on my first layer, and I don’t regret spending the extra time), but that the second layer should be staggered (to overlap the previous layer’s joints).  Finally, they recommend a quarter inch gap is left between all edges of your second layer of drywall so you can apply acoustical sealant –but then make no mention of whether or not you are supposed to mud over that, or if you then just paint the “acoustic goo” sealed seem, which I can only assume would be extremely obvious looking (not a “finished” look). [UPDATE] From SoundIsolationStore.com: “Step 4. Seal Your Wall Once the topmost layer of drywall is attached, seal the wall thoroughly using Green Glue Sealant or a comparable high quality acoustic caulk. Tape and mud your seams as you would normally do, and prepare for your wall finishing.” If you have staggered your drywall so that the top layer seams are flush against a solid piece of drywall (not lined up with the lower layer seam), I’m not sure why this would be necessary, but it is what it recommended. The literature that comes with the Speedload Applicator says, “Dedicated high performance rooms such as recording studios and theaters often specify the use of acoustical sealant in corners and along the floor. You can alternately use drywall compound to make sure all gaps are filled.  The goal is to make the room has as air tight as possible. [sic]” It should be noted that the Speedload literature also goes so far as to say THEY DO NOT RECOMMEND taping and mudding the first layer of drywall.

NOTE: All videos and literature say you need to apply the drywall with screws within 15 minutes of applying the glue.

For what it’s worth, I still think there’s merit to the trowel method if you are applying Green Glue in cooler temperatures. I wouldn’t try using a trowel when it’s warm out or if it’s warm in the room (the GG will be too viscous), but when my studio was at 50 degrees Fahrenheit and the product was much thicker and tackier, the GG spread perfectly with a trowel (see photos below).  A 1/4” tooth would be perfect for Green Glue’s recommended bead size, and applying it in two opposing directions seems like it would work great.  It’s not a totally random pattern, but according to Green Glue, that really doesn’t matter.

Ted White says Green Glue needs to be applied at around 70 degrees Fahrenheit for proper compression, and while I believe him (especially since he was around for all the testing of the product), the literature that comes with the glue and on the GG website makes no mention of this.  Somehow the temperatures here in Colorado reached 70 degrees Fahrenheit this January (no kidding!), so I ended up using the Speed Gun Applicator, but had the temperatures remained cold, I would likely have spent less time trying to bring the ambient temperature of the studio-under-construction up to 70 degrees, and would have gone with the trowel (ESPECIALLY since the Green Glue site and many others say the thickness of the bead and the application pattern are both completely irrelevant as long as you use the correct amount and get even coverage).

Green Glue applied with trowel (ambient temperature around 50 degrees Fahrenheit). This stuff will definitely make a sticky mess if you’re not careful.	The same board two months later. Bead width intact. Product “dried” (sticky to touch, like a Whacky-Wall-Walker, but leaves no residue). Notice how the product is now green instead of just minty white.

…

No MSETUP4.exe File on Canon Install Disk

I recently purchased a PIXMA Pro 9000 Mark II series printer for large format photo printing.

When I went to use the install disk (in case there were any “goodies” that would improve the performance of the printer over just allowing Windows to find the driver online), there was no AutoPlay screen (Windows Explorer simply opens and expands the CD ROM directory).  When I checked the manual, the only information regarding this possibility states:

If the program does not start automatically, double-click the CD-ROM icon on the computer. When the CD-ROM contents appear, double-click MSETUP4.EXE.

However, there is absolutely no “MSETUP4.EXE” file on the disk (before you ask, of course I have “show hidden files” ticked in the Explorer options).  There is no any *.exe file on the disk. There is an XML file in the root folder called MSETUP.plist, but that doesn’t do me much good.

Thanks, Canon.

Manually going through the disk directories, I see that there is an application folder that includes folders for Easy Photo Print EX, Easy Photo Print Pro, Inkjet Extended Survey, and Solution Menu.  Looks like I’m not missing anything.

I’m also assuming I’ll get a more up to date driver by finding it via the web vs. using the one on the disk, so… as usual, the disk that comes with your Canon printer is a complete waste of time.

Thanks again, Canon.

Sennheiser HD-280 Headphones Review

I was looking for affordable headphones for personal listening while traveling that could also be used for work in the studio and in the field.  I purchased the HD-280's after several months of research, and I am extremely happy with my purchase... so much so that I will be outfitting the studio with several more pairs.

Most of the headphones I own are for "professional" application, and thus require more power to drive the speakers. At 64 ohms, these cans are easily driven by my iPod and sound great without requiring a headphone amp.

There are a lot of reviews regarding the sound of these phones, so I'm not going to spend a lot of time on audio "flavor."  The HD-280's are nice and flat --minimal audio coloring, which makes them perfect for a studio tracking situation.  There is plenty of bass, but they aren't bass heavy. After a lot of research, I don't think there is a pair of headphones out there that can stand up to the "true" audio quality of these phones at this price point.  They could be used for mixing in a pinch, though I will always use a higher quality set of headphones for mixing (I rarely mix with headphones, but for reference, when I do I use Beyerdynamic DT 770 PRO’s at 250 ohms).

For tracking, the HD-280 can't be beat.  And at under one hundred dollars, there is no question that these are the most affordable, quality option for outfitting a studio.  However, even if I had unlimited money, I can't imagine purchasing anything but these in quantity.  The attenuation is fantastic (they are tight to the user's head and leak almost no audio), and I get little to no audio bleed even when tracking super-close vocals.  While they *can* take a lot of abuse, at this price, they are practically disposable (even though the ear pads, cord, and headband pad are easily replaced), so I don't have to get so testy with the jackass lead guitar player tossing them on the floor after a session. [smile]

Because of this fantastic attenuation, we will also be using these to record audio in the field for film and video applications.  I first received these while on vacation, and I was actually using them NOT PLUGGED IN to simply create silence.  They are on par with the ANSI ear protection I use while working in the woodshop.

The coiled cord will keep the cord alive longer, but it is a little annoying because of its weight. If one is not careful, they will also tangle more easily than a straight cord. I will likely explore options for a straight cord, especially when using these while traveling.

The cord is made to be easily changed, and the included instruction manual has clear and specific instructions for how to do this.  However, it's not as easy as simply unscrewing or unplugging the cord (my Beyer-Dynamic DT-150’s have a 6 pin connector you simply unplug); you need to take apart the housing of the left speaker and unplug the cord from the inside.  There is no soldering involved (the end of cord plugs into a spot on the inner board), and the entire process should only take a couple of minutes.

There seems to be a lot of disagreement as to whether these phones are "comfortable" or not.  I chose to ignore the people complaining that they were uncomfortable, even painful, after about an hour of use and decided to take a gamble.  Due to the tight compression of the pads against the head, the complainers were right.  While I don't think my ears stick out abnormally far, I do find that the inside of the headphones (the speakers) press up against the top of my ears, so I do need to take a break every once in a while.  I would say this is simply the price of such a tight seal against the head (and worth the trade).  It's actually also a good "timing device" to remind the user to take a break every once in a while; when they start to get uncomfortable, it's probably time to give your eardrums a break anyway.

I will eventually have to purchase more appropriate "personal travelers" that are a little more comfortable (lighter, less pressure on my ear tops), but for now these are fine --I just have to give my ears a chance to breathe a little more often. They definitely aren’t the best choice for traveling phones (too heavy, too bulky). Perhaps the "in-ear" options can never be beat for this reason (weight, comfort, and size).  Luckily these will continue to fulfill a role in the studio and in the field, so I don’t need to worry about buyer’s remorse regarding personal headphones.

The padding is leatherette (like all of my Beyer-Dynamics) and will likely need to be replaced after a couple of years (I recently had to replace my DT-150 pads), but due to the popularity of these headphones the replacement pads are readily available (have been for years, and likely will be for many years to come).  The padding for the headband is made of the same material, and also readily available.  There is a "Ziploc" type fastening system that runs the length of the entire headband (on top) for easy and secure fastening.

I love that the speakers are rotatable 90 degrees.  They lay flat on the table when you set them down, and you can solo one side or the other (though they don't flip 180 degrees as some reviewers have suggested so you have to pull them away from your head a good deal to do this).

While they don't get "tiny," its nice that these full-size headphones can collapse to about the size of a 750ml bottle of Crown Royal (though I prefer Pappy Van Winkle bourbon).

The Mom from the Galaxy S III Commercial about Waiting in Line for iPhone

Another thing on TV that was driving me crazy… I couldn’t place the actress who plays the mom in the new(ish) Samsung Galaxy III S commercial where all the iSheep are waiting in line for the new iPhone 5.

Her name is Jeannetta Arnette (click for IMDb).

She’s been in a LOT of TV (going all the way back to Riptide and Three’s Company!), has done a lot of crime television, and was even a “party guest” in 10 starring Bo Derek and Dudley Moore, but I think she is most emblazoned on my mind for her role in the Criminal Minds episode where she played the wife (also accused) of a serial killer (they were sort of like serial killer celebrities back in the day).  She painted pictures in her jail cell.  The team was searching for the “final victim.” You know the one.

Anyway… that’s who she is.

…

Argo is a Remake (why is no one talking about this fact?)

When I first saw the trailer for Ben Affleck’s new movie Argo, I thought, “Huh, they’re remaking that.”

Later, as Ben Affleck was getting more and more press and praise for this “original” film, I began wondering why no one was talking about it being a remake.  I was positive I had seen the film, and remembered enjoying it quite a bit (the plot, at least).

Then when Wired magazine started taking credit for breaking the original story as if it was all theirs, I started getting really annoyed that I wasn’t hearing anything about Argo being a remake.

When I tried to research the original film, I found that it was incredibly difficult (well… at least by today’s standards) to find any information on the subject.  Was I crazy?  Had I imagined this entire film?!

Finally, however, I found some answers.  Argo is a remake of the 1981 film “Escape from Iran: The Canadian Caper” (brilliant title, no?).

Here’s an image from the original movie that I found via the webpage of some guy actually selling a homemade DVD of the made for television movie!

Here is the Wikipedia page highlighting the actual events upon which this film was based.

To the right is the actual (fake) movie poster created by the CIA for the fake movie Argo.

So… while I think the film is going to be fun, and I’m REALLY excited about the art direction and production design, I wish people would quit talking about it like Ben Affleck is the Lord Almighty reigning down from on high, and that wired is responsible for bringing the (admittedly very cool) story to light, especially since this is ABSOLUTELY a remake of a made for t.v. movie from 1981.

…

What I Use to Shoot DSLR Film/Video (A Complete DSLR Filming Equipment List)

A couple of months ago, I did a post on what I thought I would need to get into the DSLR filming game (previously having always rented/borrowed other people’s equipment).  Well now that that has happened, I think it’s time to update the idea to what I actually use on a regular basis when shooting.  I’m helping a friend put together a purchase list, so this kind of goes hand in hand with compiling the list, so I thought I’d just do both things at the same time.  Also, I think we’re going to be upgrading to a Black Magic Cinema camera soon, so this is a good way to take inventory on what will be cross-compatible (I’m pretty sure it’s almost everything except for the 7D battery grip).

• Canon EOS 7D body
  I spent a long time deciding which Canon DSLR we’d go with.  Here is a post on the decision, but long story short, most cinematographers I spoke with actually preferred the cropped sensor, telling me the full sensor on the 5D has too much depth of field, believe it or not.  The 7D also has 60fps (for slo-mo) and TWO image processors (making it better than the 60D or T3i family).  Canon actually released a 6D at Photokina today –basically the 7D with a full-sized sensor and some more bells and whistles, but it’s $2,100 and I’m thinking the 7D is still the way to go (it’ll be interesting to see what Canon does with the 7DmkII).
• CF Cards and case
  I try and use only SanDisk class 10 cards.  They are consistently the fastest and most durable cards available.  That said, you pay a premium for SanDisk.  I do own a few Transcend cards that have never let me down and seem to be almost if not exactly as fast. For the case… Pelican makes great CF card cases, but they are ridiculously overpriced.  I use this one from Cowboy Studio.  It holds 4 CF cards (and/or SD cards) and cost $8 vs. $25 for the virtually IDENTICAL Pelican case. Here’s a previous post I did on CF/SD cards.
• Tokina 11-16mm f/2.8 (77mm threads)
  This lens is a must have for Canon cropped sensor users.  From what I understand, at the 16mm end of the spectrum, it can even be used with the full sensor 5D. Here is a previous post on this lens.  I don’t often make this bold a statement, but: BUY THIS LENS!
• Canon EF 28-135mm f/3.5-5.6 US IS (72mm threads)
  This was the kit lens from my 40D still camera.  I don’t use it very often, but I always take it along for use in a pinch.
• Nikon E series 50mm f/1.8 (58mm threads)
  Purchase via Craigslist for next to nothing (like $50). I actually took the lens apart and removed the click mechanism for the aperture ring to make it more like a cine lens.
• Nikon E series 28mm f/1.2 (58mm threads)
  Same as above.
• Vivitar 70-200mm 1/3.8 (58mm threads)
  Same as above.
• Nikon F Mount to Canon EF mount adapters
  Every now and then you’ll get a loose one, but they can’t be beat for the price (under $10 on eBay).  I recommend buying more than you need, that way if a couple are loose, you can just toss them and still come out ahead on price. Beat in mind these won’t transfer exif data or allow auto aperature and focus.  You can pay more (quite a bit) for adapters to handle these things from the camera body, but I prefer to just control everything manually.
• Rear Lens Caps
  I had to buy new Canon back caps for all the non-Canon lenses since I outfitted them all with Canon mount adapters.
• Lillput 7” LCD Monitor
  Here’s my previous post on this item.  For the price ($200), you simply can’t beat this monitor.  Having an external LCD for pulling focus is essential when using sticks.  It’s a little trickier (cumbersome) when shooting hand-held.  I haven’t purchased an LCD magnifier/loupe, but I really need to.  They are essential for pulling focus hand-held, especially in bright sunlight when the camera’s on board LCD is essentially useless.
• Extra Batteries for LCD Monitor
  Cheap and readily available via Amazon or eBay
• Cokin P Filter Holder with adapters for all lens sizes
  I like to have only one set of filters that can be used with all my lenses, and I like not having to thread them into the end of the lens each time I use them.  This is very similar to a matte box system.
• 85mm Square ND Filters
  You cannot shoot outdoors (in sunlight) without ND filters.  These are essential filters that (supposedly) don’t change the color cast of your shot while lowering your aperture so there is more depth of field to your shot.  These come in various darkness levels, with a “ten stop” (3.0) being the darkest glass you can get.  Here’s a previous post on the system.  I should probably update the post, since it sounds a little more negative than how I currently feel using the Cokin P size system.
• Bolton Hard Case
  These are FANTASTIC water tight cases, and beat the PANTS OFF the price of a Pelican Case.  You can read my full review here.  I purchased two sizes, the 18” and the 20.5”.  In retrospect, I think the 20.5” is overkill for my needs.  I will likely get another 18” and use only two 18” cases for my camera(s) and lenses in the future.
• Vivitar VIV-PG-7D Battery Grip
  When you take the battery out of the body and move it to the grip, you remove one of the hottest items from the camera setup and reduce instances of overheating (the other item being the LCD screen) .  Using the battery grip also allows you to power your camera on 8 AA’s if you’re ever in a pinch.  Bear in mind, using the grip ads girth to your camera, and will change the physical set-up of your rigs, rods, follow focus, etc. I actually ordered a different grip than this Vivitar, but the Amazon vendor ran out of the brand I bought, and they sent me this one instead.  The knob on the Vivitar that tightens the grip to the body remains loose even when the grip is tightened all the way, and thus rattles and creates some sound.  I have to tape it down to prevent this (pretty annoying).  That said, this non-OEM version is CONSIDERABLY cheaper than the Canon grip, and is virtually the same piece of equipment.
• Extra Canon Batteries
  This is the one place where I am sure to ONLY purchase OEM.  There are too many crap batteries out there to gamble.  Canons recharge quickly, retain their charge the longest, and last considerably longer than any of the knock-offs.
• XTG Dual Battery Charger
  I love having a charger that tells me how much charge is left on each battery (two independent LCD screens).  I also love being able to charge two batteries at a time, and the fact that it comes with a car charger as well as a wall plug is great when shooting in the field.
• Photography & Cinema Gear Box (GB-1)
  I spent about three weeks pricing simple camera rigs/cages and pricing parts to build my own.  Even when I was thinking about just buying aluminum or steel “blanks” and drilling/threading my own holes, I was just under the price of this rig ($79 as a promotional price, but it hasn’t gone up to the “MSRP” in the two months I’ve been watching the item).  It’s a solid camera cage for a fair price (not the bloated “fake” prices from some other manufacturers charging a premium because something is “professional”), and comes in just over the price of any decent DIY rig I’ve seen (and I’ve seen a LOT).
• Quick Release Adapters
  Having a “universal” quick release plate receiver on every device is a must for me.  I really don’t want to be messing around with threading the camera onto different equipment when I should be shooting.  By mounting a receiver plate to my crane, fluid heads, dollies, hi-hat, etc., I save a lot of time when switching the camera from one piece of equipment to another. I spent a lot of time researching which brand/system would be “the most” universal and cost effective.  I finally ended up going with P&C’s custom Fancier 717 system, because for the price of one Bogen 557, you can get THREE P&C quick-release adapters.  I haven’t used them enough (haven’t purchased the Fancier 717 fluid head yet) to say whether or not this was the best way to go.  I may still end up going the Bogen 501HD fluid head and Bogen 557/357 quick-release plates route, depending how the 717 stuff functions (if the 717 is not satisfactory, I’ll switch to the Bogen 501HDV and/or 701HDV heads).
• Two Bogen 3046 Tripods
  These are pretty heavy duty.  I actually use one as the legs for my Kessler Krane, even at 12 feet. I don’t extend the legs though. Hopefully this is just a temporary situation.  I’m still looking for a super cheap (I don’t care if it’s really old and heavy) industrial tripod to use with the Kessler Crane.
• Bogen 3047 & 3063 Heads
  Left over from still shooting. These use the same octagonal quick-release plates so they’re interchangeable.  They will soon leave the kit as I upgrade to fluid heads though. Actually, they’ll probably remain in the box for “emergencies.”
• Bogen 3221Tripod w/ Bogen 3030 Head
  This smaller tripod and head get used to support an LCD monitor, either the Lilliput 7” in video village, or sometimes a larger 24” LCD for video village.
• Hi-hat
  It’s a 16” circular piece of wood with a 3/8” bolt through the center and a quick-release plate receiver.  It keeps the camera stable when setting it on the ground or on the surface of a dolly (no sticks), etc.  It’s the best $12 you’ll ever spend.
• Skate Wheel Dolly
  You need to build one of these.  Here’s a post on the subject.  This version is really heavy duty (you can ride on it, even with a crane on the platform) and cheap to build.
• Ladder Dolly
  Similar to the dolly above, but a little lighter duty.  As the title would indicate, it’s a dolly that rides on an aluminum ladder instead of rails like the bigger dolly above.  This is good when you want to place your dolly higher up in the air (for a table shot, for instance) as you can simply set the ladder across two objects. (here’s a video from YouTube user “hawaiirod”)
• Sand Bags
  For keeping light stands and tripods in place.  These can also be placed under dolly track to minimize bounce and rattle.
• Apple Boxes
  You will invariably need to raise things up, whether it’s equipment or people.  You could always grab whatever is lying around, but it’s nice to know you have something solid and stable, and of a standardized size.
• Utility Cart
  This cart from Harbor Freight is absolutely the best way to go.  It’s super solid and cheap, and holds a lot of weight. For under $100 it simply can’t be beat.  You could go for the larger version (36” wide instead of just 30”), but you’ll likely run into problems getting it through tighter doorways.
• Laptop with Canon EOS software installed
  For monitoring the camera (if you don’t have an LCD monitor) and for transferring data from CF cards to hard drives.  You will also need the EOS software (previous post on subject) to install the Technicolor profile, which you ABSOLUTELY should do (previous post on subject).
• CF/SD Card Reader
  For transferring data to a hard drive when the cards fill up
• Clamp on Lights
  El cheapo lights that consist of a spring clamp, an aluminum reflector cone, a bulb fixture and a cord.  They’re $5 and can be attached just about anywhere (you’ll usually need to put a diffuser in front of them and/or flags around them). You can find them at Big Lots or Harbor Freight.
• Ikea China Balls with dimmer switches
  This is the best/cheapest diffusion lighting I’ve seen.  There is no easier way to control the overall “brightness” of a set.  Make sure you purchase dimmer switches made for higher wattage loads.  If you run a series of lights (several China balls or whatever), regular dimmer switches will overheat and sometimes burst into flames (seriously). Actually, the search I just did shows that Ikea doesn’t sell the cheaper ball shape anymore, just weird shapes that are a little pricier.  However, Filmtools sells something similar (identical?) to the old Ikea balls for cheap.
• Various Light Stands
  I always buy stands when I see them for super cheap at thrift stores and in the clearance bin.  You will eventually end up using them, so why not get them for super, super cheap instead of paying a premium in an “emergency situation?”
• Bounce/Fill reflectors
  I found some collapsible car windshield sun deflectors (some in gold for a nice warm tint, some in silver for a more neutral light) at Big Lots for super cheap and bought them all.  You can also just use white poster board.
• Lots of Extension Cords
  You’ll hear the term “stinger” on set.  I say extension cord.
• Lots of Clips
  Many people use wooden clothes pins (often referred to as C47’s), but I prefer to use metal document clips like you’d get from an office supply store.
• Cord/Accessory Bag
  For adapters, HDMI cords, and everything else that doesn’t have an “official” home.  I use an old, large, soft-side camera bag for mine.
• Extension Cord Bag or Bin
• Tape
  I am still looking for a good source for cheap Gaffer’s tape.  Gaffer’s tape (a heavy duty cloth tape) is WORLDS APART from duct tape, but you pay a premium.  It’s like $14 for a single roll!!!
• Sharpies, China Markers, Pencils
• Water Bottle
  Stay hydrated, kids!

Going over this list, I still need to buy:

• LCD Magnifier/Loupe
• Follow Focus
• Fluid Head
• 10 stop ND filter (3.0)
• I should probably make some flags for lighting.  Currently we just drape cloth over stands.
• Matte/Dulling Spray (for dulling bulbs and reflective surfaces)

 

Notice anything else I’m missing or something that’s in your kit that you couldn’t live without?  Lemme know in the comments!

…

My List of the Best Actors of My Lifetime

• Chris Cooper (easily one of my favorites)
• John Cusack
• Johnny Depp
• Matt Damon (and not his buddy Ben Affleck –though Casey is definitely in the running)
• Robert Downey, Jr. (I realize he’s having “fun” with his career now, but I think he deserves it after all the sh*t he’s been through --he’s also a stellar actor even though he’s made some bad ones)
• Harrison Ford
• Dustin Hoffman (I still love going back to early stuff like Straw Dogs and obscure things like American Buffalo –also, best Willy Loman ever)
• Phillip Seymour Hoffman
• Daniel Day Lewis
• John Malkovich
• Ian McKellen
• Viggo Mortensen
• Edward Norton (another super favorite)
• Gary Oldman (what happened with Air Force One and The Fifth Element though?!)
• Brad Pitt (he gets a Mulligan for Seven Years in Tibet)
• Pete Postlewaite (oh, how I miss him)
• Robert Redford
• Ken Rockwell (another super-fave)
• Kevin Spacey 
• Benicio Del Toro (but what happened to this guy?!)
• Denzel Washington (just barely made it for the plethora of bad movies amongst the good)

Then there are the “classics” that are so obvious it’s not really worth putting them on a list (Al Pacino, Robert DeNiro, Anthony Hopkins, Marlon Brando, etc.) I realize I included Dustin Hoffman and Robert Redford, who fall into this category, but it’s just ‘cause I like them so much more than those other guys!

I wish I could put Val Kilmer on this list for his portrayal of Doc Holiday in Tombstone, but he’s SO bad in everything else (except maybe Heat).