|
Who is a celebrity? A celebrity is
someone who has gain a certain prestige in the media and social circle. They may be well known globally or is known within
its local circle. They have gained fame within the media and may be known worldwide.
Who’s the most overpaid actress in history? Could it really be Nicole
Kidman???? She’s definitely not my favorite actress. The Hollywood Reporter’s annual list-06 of Hollywood’s
highest-earning actresses has been released.
1. Nicole Kidman
Nicole Kidman, makes $16 mil-$17 mil. What she should be earning: -$1 mil. That's
right, I'm saying that Nicole should be paying film companies to hire her, not the other way around. That's because she's
poison at the box office, the female equivalent of Sean Penn. Women dislike her, men don't think she's sexy, and those Chanel
ads induce nausea. My guess is Nicole's rate dates back to Sony Pictures overpaying her for that bomb Bewitched. Since then,
she's been doing smaller films, but is signing for studio projects right now. Note to majors: save your $$$ and hire Reese
or Angelina.
2. Reese Witherspoon
Reese Witherspoon, $15 mil. What she should be earning: $25 mil. Reese can do
no wrong. Women love her, men love her, the camera loves her. And she's smart: when she was looking for a new agency, she
lamented not owning her Legally Blonde character because it'll be Broadway bound. Which doesn't mean all her films are great,
but she's always great in them. She opens a movie. 'Nuff said.
3. Renee Zellweger
 Renee Zellweger, $15 mil. What she should be earning: $5 mil. Renee doesn't open movies, unless the
material is Bridget Jones-cloned. She's fine as the wife or girlfriend, but then her price needs to be cut by a third. Worse,
audiences are getting sick of her changing hair color whenever she changes parts. That's a dye job, not an acting job. Sadly,
she's lost her once winning girl-next-door quality; now she's trying to be a fashion diva. Ugh.
4. Drew Barrymore
 Drew Barrymore, $15 mil. What she should be asking: $3 mil. Drew has never been able to open a movie,
and she never will. That doesn't mean she isn't sweet onscreen, but lately her roles have been too saccharine. If only she'd
bring back that Poison Ivy edginess she once had. Women like her but they don't want to be her (or even briefly married to
Tom Green), whereas men don't think she's hot anymore. Drew's price should go up when she grows up.
5. Cameron
DiazCameron Diaz, $15 mil. What she should be asking: $7 mil. Put her in a bikini, and she's worth
it. Put her in a chick flick (In Her Shoes, The Holiday), and she's not. Everyone finds her sexy, but women don't like her.
(It's jealousy. And not just because of Justin.) Plus, she simply doesn't have much range as an actress from the neck up.
6.
Halle Berry
 Halle Berry, $14 mil. What she should be asking: $5 mil. Once she lost her shot at launching
a new franchise as 007's Jinx, she lost what should have been her biggest paydays. Alas, she's now the wrong side of 40, and
Hollywood is cruel that way.
7. Charlize Theron
 Charlize Theron, $10 mil. What she should be asking: $10 mil. A smart actress, surrounded by
smart people, doing smart roles. Just don't fuck it up with too many vanity projects like North Country.
8. Angelina Jolie
Angelina Jolie, $10 mil. What she should be asking: $25 mil. There's no one hotter
and cooler right now than Angelina onscreen and off (just ask the stalkarazzi), but that could change if she starts auditioning
for sainthood by making too many message movies. Let's hope she's too bad-ass for that.
9. Kirsten Dunst
Kirsten Dunst, $8 mil-$10 mil. What she should be asking: $1 mil. Eventually,
the Spider-Man franchise will end. Marie Antoinette dying in theaters didn't help her price. She was an idiot not to star
in Bring It On sequels for big bucks. She's not sexy enough and she won't age well with audiences. This is a career about
to end.
10. Jennifer Aniston
 Jennifer Aniston, $8 mil. What she should be asking: $1 mil. She's not a movie star. She's
a TV star. Big difference. Most of all, she's not an interesting actress. She can't open a movie, and her choice of material
is abysmal. Sure, The Break-Up did okay business, but that was because of Vince and in spite of her. Soon she'll be lucky
to score the next Lifetime movie.
   
   
   
In physiology, a smile is a facial expression formed by flexing the muscles most notably near both ends of the
mouth. The smile can be also around the eyes. Among humans, it's customarily an expression of pleasure, happiness, or amusement,
but can also be an involuntary expression of anxiety, in which case it can be known as a grimace. There is much evidence that
smiling is a normal reaction to certain stimuli and occurs regardless of culture. Happiness most often causes the smile to
occur, though. Among animals, the exposure of teeth, which may bear a resemblance to a smile, are often used as a threat -
known as a snarl - or a sign of submission. In chimpanzees, it can be a sign of fear.
Tyra Banks Biography
- Born: 4 December
1973
- Birthplace:
Los
Angeles, California
- Best Known
As: Supermodel host of America's Next
Top Model
Banks is a former model who created the popular TV reality show America's Next Top Model. Banks was a top supermodel of the 1990s, when she became
the first African-American model featured on the cover of the Sports Illustrated swimsuit issue. Famously curvy even by supermodel
standards, she was a regular on fashion magazine covers and in the Victoria's
Secret catalog. Banks also dabbled in acting, with appearances in the movies Higher Learning (1995, with Jennifer Connelly)
and Coyote Ugly (2000, with Piper Perabo). In the new century she shifted her focus to television. In 2003 she began producing
and hosting the reality series America's
Next Top Model. .
|
|
Tyra Banks Wallpaper
Official Website
Born:
December 4, 1973
Los Angeles, California
Filmography:
America's Next Top Model (TV) (2004)
Larceny (2004)
Eight Crazy Nights (2002)
Fashiontrance (TV) (2002)
Halloween: Resurrection (2002)
Coyote Ugly (2000)
Life-Size (TV) (2000)
Love and Basketball (2000)
Love Stinks (1999)
A Woman Like That (1997)
Higher Learning (1995)
The Fresh Prince of
Bel-Air (TV) (1993-1994)
Inferno (TV) (1992) |
| | | |
|
 |
Dateline: Hollywood, California, USA
Maury
Dahlen, Director of Photography
|
|
|
I'm the Director of Photography on ABC TV's EMMY Award winning Better Homes and Gardens
Show. The MICRODOLLY Jib has really come in handy because it is so light and quick
to set up. We can put it together in just minutes and that's made my job so much easier.
The lightness is really important
because we travel a lot. It's quick and fast and the crew loves to work with it because it gives us those quality moving shots
that give us the edge over other shows. |
 |
 |
For a show like this where speed and quality are important both in the studio and
on location the MICRODOLLY Jib is really valuable. It travels in less space than
a tripod. We usually just put it in the overhead compartment when we fly.
|
|
|
The Jib also works perfectly with the MICRODOLLY Camera
Dolly and Track System. It's a great combination that lets you do a beautiful tracking shot and crane move
together and you don't have to carry weights to the location since the Jib can use anything for counterweight, even
water, in its folding weight cage. |
 |
 |
This kind of camera movement really increases the production value of the show.
As the D.P. it's made my job much easier and gives me a great look. And my producers love it.
|
|
Maury Dahlen can be contacted at:
Maury Mountain Productions
Westlake Village, California, USA
 |
Dateline: Universal Studios Hollywood
Harrison
Engle, Producer/Director
|
|
|
Recently, while directing a television special for American Movie Classics about
the restoration of Alfred Hitchcock’s thriller, “VERTIGO,” at Universal Studios, I found myself wishing
I could use a dolly shot to illustrate the vast size of Universal’s film vaults. It was one of those spontaneous shots
we hadn’t planned on, but I knew would be right for our show. A quick phone call and the MICRODOLLY
was at our location, set up and in use.
|
|
My cameraman, Larry Mitchell had not used the MICRODOLLY
System before and marveled at the ease of use and true versatility of this amazing piece of equipment. The MICRODOLLY
enabled us to set and shoot our moves with speed, efficiency and great elegance. |
|
 | |
 |
|
This simple, lightweight Dolly and Track System really can achieve the effects
of its much larger, heavier and more labor intensive brethren. We were enormously satisfied with the results, a series of
stylish shots for our production. |
Harrison Engle can be contacted at:
Signal Hill Entertainment
Los Angeles,
CA, USA
 |
Dateline: Hollywood, California, USA
Mike
Cargile, Director
|
|
|
While planning shots for the comedy short film "A Lesson," I soon realized that my
vision was rapidly surpassing my meager budget. Then, I remembered the MICRODOLLY grip equipment I had seen at Showbiz
Expo. I called MICRODOLLY, and we discussed how I could utilize their Jib and Dolly Systems to capture
the shots that I wanted. |
|
My D.P., Larry Sher, and I visited the MICRODOLLY offices in Hollywood for a
personal demo. We were planning to shoot with the new Sony Hi-Definition 16x9 cameras, fully "tricked-out" with the studio
matte box and focus rails, and we wanted to be certain that the ultra-lightweight MICRODOLLY Dolly and Jib Systems
would be ok to use with the kind of shots we wanted. |
 |
|
 |
On the set, the gear worked beautifully and was utilized in a wide variety of locations
and setups. We combined the Jib with a traditional dolly and executed a beautiful crane shot that ordinarily would
have been quite expensive. We also used the Jib with traditional legs and acquired a number of wonderful POV shots. |
|
|
|
Once we moved to a small home interior, the Dolly System proved to be a real
lifesaver, both in time and ease of use. MICRODOLLY didn't require the enormous amounts of effort and space needed
to lay traditional dolly track; we simply "plopped" down the Track and moved with every bit of the precision and stability
of a larger setup. Our A.C., initially chuckled when she saw the small scale of the equipment, even referring to it as a "trainer
dolly." However, within a couple hours of use, her tone changed remarkably and was nothing short of enthusiastic.
|
 |
|
|
With the MICRODOLLY gear, I was able to pull off approximately 35 setups a day, compared
with the 25 or so I typically get in a normal working environment. I would highly recommend the MICRODOLLY Dolly and
Jib Systems to any filmmaker at any point in their career. |
Mike Cargile can be contacted at:
Big Event Pictures
Studio City, California, USA
 |
Dateline: Malibu Ranch
James Balog,
Cinematographer
|
|
|
One of the biggest problems with the sort of Wildlife, Adventure Location Photography
that I do is that you often don't have a "big crew" and "big budget," still you want some added production value in the shots.
You want what a dolly move can give you. |
|
|
MICRODOLLY gives us more production value
without having a large crew and lots of heavy equipment that would slow us down too much. I like to work fast, I like to keep
crews small and I'm working in locations where I can't have really complicated, time consuming set-ups. |
 |
 |
 |
|
|
I really like the MICRODOLLY! It's a great
tool for moving fast, keeping your crew light and still getting terrific dolly shots. We can get a lot more done in one day
than we normally could. I love this thing!
|
|
James Balog can be contacted at:
Jupiter Pictures
Boulder, Colorado, USA
 |
Dateline: Ohio, USA.
Dean Marini, Director
of Production Services
|
|
|
Our clients love the MICRODOLLY. We used
it during the National Inventors Hall of Fame induction and the client and director couldn't use the shots enough. It added
so much to the broadcast that during rehearsals we kept changing our blocking so that we could use the MICRODOLLY
even more.
|
|
The MICRODOLLY has really brought a big time
look to all our projects. It's wonderful in tight spaces, and it's so lightweight that I don't mind lugging a Dolly
and Track up 14 flights of stairs. It's so easy to set up that you don't worry about tearing it down to move from room
to room for a new shot. |
 |
|
It has also helped on projects where the budget is tight. I no longer need to worry
about if there's room in the budget to rent a grip truck or a Dolly and Track. Now in two minutes I unpack and
set up my MICRODOLLY and I've got a perfect Dolly shot without breaking the
clients bank account.
|
 |
|
Rarely does a product perform as well in the field as it does on the floor of the NAB.
But right out of the bag the MICRODOLLY performed great. Image Video is a big fan,
and we can't wait to see what new products MICRODOLLY develops in the future. |
|
|
Dean Marini can be contacted at:
Image Video Teleproductions, Inc.
North Canton, Ohio, USA
|
 |
Dateline: Iowa City, Iowa, USA
Ken
Duncan, Owner, Ad-Market Productions
|
|
|
After dozens of T.V. commercials and corporate productions, our MICRODOLLY
has paid for itself many times over. When I saw the MICRODOLLY at NAB, my biggest
question was, "Can it hold our 115-pound Porta-Jib and camera?" The answer is a resounding YES! |
 |
 |
|
With an inexpensive modification to help secure the oversized Porta-Jib's heavy-duty
tripod feet, our MICRODOLLY performs flawlesly. Not only can we shoot silky smooth
scenes on 26 feet of Track, but the Jib adds six feet of craning motion, even in the tightest locations. One
of my favorite uses for the MICRODOLLY/Jib combination is filming tabletop food and
product shots for commercials.
|
|
 |
|
I use our Steadicam for many moving shots. But when a slower, more controlled move
is called for, MICRODOLLY offers a terrific alternative to Steadicam, at a fraction
of the cost. It sets up quickly and operates in places a larger dolly can't fit.
MICRODOLLY
has become a valuable and creative addition to our production process.
|
Ken Duncan can be contacted at:
Ad-Market Productions, Inc.
Iowa City, Iowa USA
 |
Dateline: Bremerton, Washington
Doug
Watson, Lighting Cameraman
|
|
|
Assignment: The U.S.S. Missouri. A two-day shoot aboard the most famous battleship
in the U.S. Pacific Fleet. Site of the surrender of Japan in 1945, the Missouri last saw action in the Gulf War. |
|
|
Now decommissioned, she will soon become a national tourist attraction. Mindful of
it’s history, Producer Rich Luciani and I felt we should capture the Missouri’s faded glory in her best light.
This proved to be no easy task. Our strategy was to shoot all exteriors when there was a pause in the rain. (Remember this
is Washington.)...then go below. But, “below” turned out to be five stories from the bridge to the engine room. |
|
 |
 |
|
Outside, we climbed up on the turrets of the Missouri’s famous sixteen-inch guns
and made some real impressive moves. It’s amazing how just a smooth, simple little move can sweeten the shot. |
|
|
|
If you’ve ever climbed up and down five stories carrying vast amounts of equipment
for endless set-ups you know how important light weight gear can be. Lucky for us we had the MICRODOLLY.
It was perfect for the job... giving us smooth moving shots even in very tight passageways deep inside the ship.
|
|
 |
|
Doug Watson can be reached at:
Corporate Productions, Inc.
Los Angeles, California, USA
 |
Dateline: Australia
Geoff Grist, Video
Department, Australia
|
|
|
The love affair between MICRODOLLY HOLLYWOOD and Australia began at the
NAB in 1996 when Garry Maunder and I first saw a demo of the new MICRODOLLY system.
That
first MICRODOLLY was purchased by Tony Mestrov who shoots for “Beyond 2000.”
Tony said, ”Fantastic! At last a Dolly I can travel with. This one’s mine.” That Dolly has
now been around the World quite a few times and is Tony’s favorite piece of equipment. His wife Jan assures us
that its a true love affair.
|
 |
 |
|
Garry Maunder has also taken the MICRODOLLY
to distant locations. Garry said that “In Africa the locals were fascinated. They loved to help set up the Dolly
and watch the shots on our small field monitor. We then moved on to Vietnam and Cambodia with terrific results.” Maunder
continued, “This was a real test for the MICRODOLLY being jammed into small
aircraft, then thrown into the back of four wheel drive trucks and bounced all over the countryside.”
Now all
the top rated shows of Australia have a MICRODOLLY, “60 Minutes, “Getaway”,
“The Great Outdoors” and “Beyond 2000.” |
|
Geoff Grist can be contacted at:
Video Department, Australia
Sydney Australia
 |
Dateline: Budapest
D.J. Roller, Cameraman
|
|
|
When told we were going to Budapest, Hungary to shoot behind-the-scenes footage
for “The Hunchback of Notre Dame” a TNT Original Movie, I immediately thought of the MICRODOLLY
I had seen at ShowBiz Expo in Los Angeles. As a cameraman for Turner Productions in Atlanta, we’re constantly on the
road and everything has to be lightweight and very sturdy.
|
|
Even in front of the church the surface was made to look like well worn stones. Even
so, the Dolly worked just great. The foam pads and shims that are included in the kit made it possible to make very
smooth moves. We also used the MICRODOLLY around the city of Budapest to get beauty
shots to establish the location. All in all, the Dolly worked out really well. It was quick to set up, lightweight
and easy to carry around. You can just keep it with you all the time because its so light, and use it when you need it. |
|
D.J. Roller can be contacted at:
Turner Productions
Atlanta, Georgia, U.S.A
| |
 |
Dateline: Ireland
Jim Watt, Director/Cameraman
|
|
|
"The Emerald Isle" is the first episode of
a 3 one-hour show series shot in the HD 16:9 widescreen format using the new Panasonic AJ-HDC20A DVC PRO HD camera. The programs
are part of a High Definition Travel Series titled "Discoveries...Ireland", produced by my company Bennett/Watt Entertainment,
Inc. for Janson Media.
|
 |
 |
Many times with this kind of shooting our subjects, in this case castles and ruins,
are inanimate objects. For this reason, we brought our MICRODOLLY Camera Dolly package.
We also had our MICRODOLLY Jib with us and together the Dolly and Jib
added a lot to the visual interest of the scenes.
|
|
|
At first, we were a bit concerned about shooting in the 16:9 format because of comments
we had heard of problems with camera movement and framing in widescreen. Actually, my partner (and wife) Kelly and I found
the adjustment to the wider format to be no problem. If anything, camera movement enhances most shots in widescreen. |
 |
 |
We're shooting in Chile, Argentina, Vietnam, and New Zealand over the next months.
Once again, we plan to take the MICRODOLLY Camera Dolly and Jib with us. They're
both terrific. The light weight and portability make them perfect for what we're doing. I definitely want to add a few new
accessories to our inventory for the upcoming trips.
|
|
|
Jim Watt can be contacted at:
Bennett-Watt Entertainment, Inc.
Issaquah, Washington, USA
www.Bennett-Watt.com
|
 |
Dateline: Aachen, Germany
Frank Mirbach,
Owner, Cinematographer
|
|
|
As a full-service production company located in Germany, we work on very different
kinds of productions. From the one day ENG shot to the completion of very complex corporate films, commercials, documentaries,
music clips and even smaller features. |
|
|
Our MICRODOLLY comes with us on all occasions,
even if our clients didn't ask for it up front. They always changed their minds every time we had shown them the easy set-up,
the lightness and the great production value it adds to their productions, at a fraction of the cost of a large dolly. |
 |
|
During one of our last films, the short feature "FOR SALE", shooting time and space
had been important factors due to the practical locations we used on the film. We were only allowed up to a certain time in
a real existing apartment. We shot scenes using a Panther dolly every time the dolly had to carry our heavy jib arm. This
often caused problems in the small corridors and narrow stairwells the script asked for. So we tried to use our MICRODOLLY
wherever it was possible, with great results. We were able to save a lot of precious production time by easily grabbing the
whole Dolly Track and putting it into its new position. After seeing the rushes, no one was really able to distinguish
the Panther shots from those made with the MICRODOLLY.
|
 |
| |
|
The MICRODOLLY is a fantastic piece of equipment.
Easy to set-up, lightweight but still very stable, it offers most of the possibilities of much more expensive items and adds
production value even on shots with the tightest budgets. |
|
|
|
|
|
|
|
| |
 |
Dateline: Namibia
Niko Diehm, Director/Cameraman
|
|
|
I'm a Director/Cameraman who works primarily in commercial production. Recently, I
took the MICRODOLLY Jib and Camera Dolly Systems along on a shoot in Africa.
I shot in both South Africa and in Namibia.
|
|
|
What a wonder the system is. I threw it in the back of a VW and took off through the
deserts of Namibia. The desert seemed almost endless. I shot in an abandoned diamond mine that has been taken over by sand
dunes as well as hiked up one of the highest sand dunes of Sousousvlei National Park.
|
| |
 |
 |
|
The park encompasses hundreds of miles of bright red sand and barren white salt pans
from long-dead lakes. I climbed up to the top with my camera, tripod, the MICRODOLLY Jib
Arm and a few bottles of water to keep me going in the 100+ degree heat. |
| |
|
Setup was quick and easy and the best part was having all the counterweight I needed
underfoot! The footage was spectacular. The Jib added the special movement that put it in a higher production category.
A feat that would have been unimaginable without an ultra-light Jib arm.
|
|
| |
|
 |
Shooting back in the States in Florida, we had numerous locations both on and off the
beach. The MICRODOLLY Camera Dolly and Track System was indispensable in order
to make the number of setups we needed. The weather was tricky and the two minutes it took to move the whole Dolly System
to a different part of the beach was a real time and budget saver.
|
|
|
When push comes to shove, MICRODOLLY is
worth it's weight in gold!
|
|
Niko Diehm can be contacted at:
Niko Productions
Brooklyn, New York, USA
|
 |
MICRODOLLY was in studio with Director Adam Baxter and Producer Kevin
Clark
"We had a small crew for a music video shoot and didn't have the resources for moving heavy gear around Hollywood,"
said Clark. "The MICRODOLLY Jib easily fit in the trunk of our car. In the studio we mounted the Jib on a standard
doorway dolly and used the Boom Extensions to increase the reach to both six and twelve feet. Even on a very tight budget,
the MICRODOLLY Jib made it easy to get all the shots we wanted," concluded Clark. |
|
MICRODOLLY was on location in New York with Relay Productions
and Director of Photography Richard Numeroff.
“The film shoot was for Grammy Award winning singer Wyclef Jean,”
said Numeroff. “A jet, some girls and a band on the tarmac. All the elements for the music video for Everyday Is A Holiday!
Artist Jeremy Blake was directing for Plum TV.”
“Once again, our MICRODOLLY Camera Dolly and Track
System helped make the session go quick and smooth. It’s a brilliant bit of kit for shoots like this,” concluded
Numeroff. |
 |
|
 |
MICRODOLLY was on location with Director of Photography Jay Holben. The
footage was for a story comparing compositing software for American Cinematographer Magazine .
Douglas Bankston, Associate
Editor of A.C., was the Director. "We used the MICRODOLLY Camera Dolly and Track System to shoot the various moving
background plates we needed for compositing," said Bankston. "We were working under a very tight schedule and the quick set-up
time of the MICRODOLLY gear helped us finish on time with all the necessary coverage." |
|
MICRODOLLY was on location with Director of Photography Rachel Dunn shooting
a P.S.A. Spot for Women in Film. "We had a lot of set-ups to cover and we were filming in extremely cramped and limiting locations,"
Dunn said. "That's why we decided to use the MICRODOLLY gear."
"The amazing thing about this equipment is that
both the MICRODOLLY Jib and Camera Dolly System weigh less than our film camera and gear driven pan/tilt head!
The portability and ease of set up makes it perfect for location work." |
 |
|
 |
MICRODOLLY was in Torrance, California on location with Channel 3 for
the live broadcast of the annual Armed Forces Day parade.
"This parade is a great source of pride to the City," said
Renard Ricks, Production Supervisor. "Naturally, we strive to make our coverage better each year and this time we used our
new MICRODOLLY Power Head and Jib. The result was a whole new dimension to our coverage. The Power Head
let us get shots and moves we had always wanted but could never accomplish until now. We also now own the MICRODOLLY Camera
Dolly System." |
|
MICRODOLLY was out on location with Director of Photography Tom Tanquary
"I work most of the time for the "Dateline" program series for NBC," said Tanquary. "My MICRODOLLY Jib has
been used in over 50 stand-ups and numerous B-roll shoots since I got it. While it's compact travel size and extreme light
weight are enough to sell this Jib, its the folding counter-weight cage that puts it into the 'must have' category.
We can use anything for counter weight. And we do!" |
 |
|
 |
Richard Hiett is Director of Photography for the hit TV Series "History's Mysteries"
with Arthur Kent on the History Channel.
"We travel a lot," said Hiett. "This means the equipment that goes with us
to location has to be as light as possible and as quick as possible to set up."
"We own other jibs, but we always
travel with our MICRODOLLY Jib because you can use anything for counter weight that will fit into the folding Weight
Cage." |
|
MICRODOLLY was shipboard with Director of Photography Tom Campbell. The
High Definition shoot took place off the coast of South Africa not far from Capetown. Campbell specializes in marine wildlife
photography.
"I live in the U.S., but ninety percent of my documentary work in the wildlife industry is outside of
the U.S.," said Campbell. "I simply cannot afford to travel and work with equipment that is too cumbersome or too heavy. Because
of it's light weight, yet sturdy construction and quick set up, the MICRODOLLY Jib is perfect for the kind of work
we do." |
 |
 |
MICRODOLLY was on location in Saint John, US Virgin Islands with Director
of Photography, Henry Olko. The shoot was for CBS News "48 Hours".
"Gear does me no good sitting in my office when
I travel," said Olko. "For this reason, size and weight are paramount. The MICRODOLLY Jib is extremely lightweight
and compact and can be extended to an astounding 12-foot reach. This is a very well thought out piece of gear." |
|
MICRODOLLY was on location in London with Mark Holmes of PROKIT,
a major supplier of gear for the video/film industry in England.
"I decided to try out the new MICRODOLLY Suction
Mount Kit," Mark wrote. "It's a very stable rig and worked brilliantly on the Ferrari."
Mark has decided to keep
the MICRODOLLY Suction Mount. Unfortunately, he had to return the borrowed Ferrari. |
 |
|
 |
MICRODOLLY was on the streets of New York City with Director of Photography
Doug Weisman. The shoot was for Stonehaven Productions of Montreal.
"The scene called for a super-wide 16:9 image
of a Bike Messenger and his POV rushing through city traffic," said Weisman.
"The MICRODOLLY Suction Mount Kit
and Clamps provided a secure camera platform which didn't take a great deal of time to set up. It was the perfect solution
for this shot," concluded Weisman. ECS Video Systems in Boston supplied the MICRODOLLY gear. |
|
MICRODOLLY was in the Bahamas on location with Air Sea Land Productions
and Director of Photography Anthony Lenzo. "ASL contracted to supply the gear and crew," said Lenzo. "The shoot was for the
'Splash TV' series for Nickelodeon."
"We had a schedule that called for four days of shooting in the ocean, in waterways,
and in fresh water pools," said Lenzo. "We used our MICRODOLLY Suction Mount Kit to rig the underwater camera housings
on a variety of high-speed watercraft." |
 |
|
 |
MICRODOLLY went back in time with U.S.Army General Patton for the Military
Channel series production titled "First Command". Wellar/Grossman Productions mounted the project. The Director of Photography
was David Mesloh.
"This shoot required a number of set-ups on rough, uneven terrain," said Mesloh. "We used the new
Ladder Dolly Kit from MICRODOLLY to mount the MICRODOLLY Camera Dolly and Track onto our standard
grip ladder. We kept the rig assembled and simply moved it from scene to scene. This gave us a fast and easy way to dolly
across streams and rocky ground to follow the action," concluded Mesloh. |
|
MICRODOLLY was on the Hudson Bay near the Arctic Circle, where Director
of Photography Rich Lerner spent eight weeks filming life with an Invit tribe family.
"Temperatures were well below
freezing much of the time," Rich said. "but the MICRODOLLY Jib worked perfectly and gave us some spectacular shots.
And, with all the ice and stone around we never had to look very far for counter weight!"
The production was for the
"Living Edens" series for PBS. |
 |
|
 |
MICRODOLLY was on location with DP Gary Feblowitz.
"When time
is short, portability is a must," said Feblowitz. "On a show like 'Rally Round the House' for the Discovery Channel, it's
a challenge to keep production value high with a fast paced Reality TV schedule. For us, the answer was the MICRODOLLY
Jib and Power Head."
"At first, I was skeptical about such a lightweight Jib carrying our heavy
Sony F900 Cine Alta HD camera, but the MICRODOLLY rig worked really well," concluded Feblowitz. |
|
MICRODOLLY was on location in Georgia with Director of Photography
John Godwin. The shoot was at the Home Depot Company corporate offices.
"Everyone was working in cubicles," Said Godwin.
"So we used our jib to give us the elevation and angles we needed. We have the MICRODOLLY Power Head mounted on our
Seven Jib. The combination works very well for us and producers love it!" concluded Godwin.
The remote pan/tilt MICRODOLLY
Power Head can also be mounted on Cinekinetic, Porta-Jib, Travoto, CamMate, Panther, EZ FX and Jimmy Jibs. |
 |
|
 |
MICRODOLLY was on stage in Hollywood for a high-def movie shoot with Director
Olatunbe Osunsanmi and his Director of Photography Yasu Tanida.
"Much of the action takes place in a mine shaft and
cave we constructed on the stage," said Tanida. "Because of the tight quarters, we mounted the MICRODOLLY Jib with
the Power Head on our studio dolly. This gave us the maximum flexibility of camera movement and position with our periscope
lens," concluded Tanida. |
|
MICRODOLLY went on location in the Aleutian Islands with Director of Photography
Bill McMillin "This was a shoot for "Primetime" on the ABC Television Network," Said McMillin. "The story was about the tragic
sinking of the fishing boat Arctic Rose."
"Since time was of the essence, having the MICRODOLLY Jib was a real
asset. We were able to travel to this remote location, set it up using rocks for counterweight and get some very dramatic
shots in a short stretch of time. The Jib was particularly useful doing the correspondent's stand-ups and the producer
was really impressed with the footage," concluded McMillian. |
 |
|
 |
Racing against the clock at the Connecticut Limerock Speedway, Eric Silverstein
of ECS Video Systems used the MICRODOLLY Suction Mount Kit to attach a camera on a Porsche 911.
"Everything
was mounted on the inside of the car and space was VERY limited," Silverstein said. "Between the seats and the seatbelt harness,
it was really a tight fit. With the multiple three leg design of the MICRODOLLY Suction Mount, it made it possible
to put the camera into a very small area. Speeds were up around 120 mph and the Mount worked great!" |
|
MICRODOLLY was on location at the beach in Santa Monica, California for
the Annual Twilight Dance festival series. This year, Cameraman Alan Pineda used the new MICRODOLLY Power Head and
Jib to enhance the multi-camera shoot during the live coverage.
The MICRODOLLY Jib is ideal when working
on a crowded stage because a weight cage holds the counterweight so that the Jib doesn't require a lot of floor space
to operate. |
 |
|
 |
A MICRODOLLY Camera Dolly and Track System was on location with Australian
Prime Minister John Howard for his "Talk to the Nation". Rohan Dadswell was Director of Photography.
As a shooter,
Dadswell travels extensively for both production and news features. The MICRODOLLY System is so quick to set up that
you can just keep it with you as you would your tripod. "I love this bit of gear!" said Dadswell. |
|
MICRODOLLY on location with Chinese Television Director Du Shao (far left)
as he prepares a scene for "New York Blues". A production of CCTV in China, the twenty show dramatic series is being shot
in Beijing, Los Angeles, and New York.
Director of Photography Yi Zhou is shooting the series in 16x9 using the SONY
HDCAM. "We have the MICRODOLLY Jib, Camera Dolly and MICRODOLLY Suction Mount Systems," said Mr. Yi. "Together
they help us give our shows much more production value when we shoot on location." |
 |
|
 |
Director and Producer Dennis Edwards recently used the MICRODOLLY Jib
mounted on the MICRODOLLY Camera Dolly and Track System for a location shoot. "Cost effectiveness," Edwards said. "combined
with easy set up and transport were all important." The music video starred folk singer Marti Stevens.
Director of
Photography Mark Dinicola shot the project in 16x9 with the Panasonic DVC PRO HD and liked the fluid movement the MICRODOLLY
Systems gave them. |
|
MICRODOLLY was on location in Fiji with Cameraman Mal Hamilton and Director
Sally Salmond of the Adventist Media Production Unit. The shoot was part of a program with singer Manuel Escourcio.
The
Adventist Production Unit has been a MICRODOLLY owner/user for the past five years and has circumnavigated the globe
producing both TV Specials and TV Series. The ultra-lightweight and compact size of the MICRODOLLY gear is a real benefit
to crews who travel as much as this unit does. |
 |
 |
MICRODOLLY on location at Saugus Raceway in California with Director Jeff
Centauri as he gives instructions to the stunt drivers lined up for the next shot of his current feature project titled "Fear
of Speed".
The story is being shot in the Panasonic DVC Pro format. For additional camera stability, the three point
MICRODOLLY Suction Mount is being used for the on-board car shots. Centauri Productions also owns both a MICRODOLLY
Camera Dolly and a MICRODOLLY Jib System. |
|
MICRODOLLY went on location with Director Christy Brently and Director
of Photography David West. The shoot was an awareness project for children with extreme sensitivity to sunlight. It was shot
in 16x9 with the new Panasonic High Definition camera.
With the MICRODOLLY Jib extended, West was able to get
from ground level to fourteen feet above the playground. Much of the shoot took place at magic hour, so the quick set up and
portability of the MICRODOLLY gear was a definite advantage. |
 |
 |
Paul Seiter, President of the Wild West Motor Company chose the MICRODOLLY
Jib to add production value to his new promotional video.
Mounting the Jib on the rear of the bike allowed
him to shoot many different angles from a single mount as the bike moved through the countryside at speed.
Check out
www.wildwestmc.com for some of the most beautiful custom made motorcycles built.
|
MICRODOLLY was on location in the Anza Borrego Desert of Arizona
with Director of Photography Stuart Asbjornsen and Producer/Director John McDonald.
"We were shooting High Def with
a small crew and had to hike to several remote locations to shoot indian pictographs," said McDonald. "The ultra-lightweight
portable MICRODOLLY Jib let us get the dynamic shots we envisioned and still move from set-up to set-up with ease."
|
 |
|
 |
A MICRODOLLY Jib on location with Drew Horton, V.P. of Burrud Productions,
Inc. The shoot was for one of the episodes of the "All About Earth Science" television series.
"For over 45 years,
Burrud Productions has been producing shows for television and home video distribution," said Horton. "Our in-house staff
cameramen travel all over the world for reality and wildlife footage. For us, our MICRODOLLY Jib does double duty on
location as well as in the studio." |
|
MICRODOLLY went on location with Gary Glenn in Australia. Glenn describes
himself as a Corporate Movie Maker. His work takes him around the world to create marketing, promotional and training videos.
"Because it's so light and portable, I use the MICRODOLLY Jib on almost every project that I do," says Glenn.
"It's a fantastic piece of gear for giving our projects a bigger look. Clients know they are getting added value and can really
see the difference on the screen." |
 |
 |
MICRODOLLY went on location with a Defensive Driving class for teenagers.
The shoot was sponsored by the Auto Dealers Association of Massachusetts.
Eric Silverstein of ECS Video Systems was
in charge of rigging the vehicles. "Speeds were in excess of 50 mph with cameras positioned on the hood, trunk and rear door,"
said Silverstein. "The three cup design of the MICRODOLLY Suction Mount Kit really made it the perfect tool for a fast
moving day that required a lot of set ups." |
|
MICRODOLLY was on location with Cameraman Devin Curry and Director Tyrrell
Shaffner (second from left) during the filming of "Different".
"The setting was a High School Prom dance and we had
a lot of extras in the scene,"said Shaffner. "The MICRODOLLY Jib and Power Head combination gave us the ability
to quickly get a lot of angles and moves in a limited amount of time. The fast set up and light weight of this gear is a definite
advantage." |
 |
|
 |
MICRODOLLY was on location in the Rocky Mountains with Producer Danny
Grizzle. "My crew was documenting the results of the horrific wild fires that have plagued the Western United States recently,"
said Grizzle. "Nothing like high altitude shooting a few feet below the tree line to make you appreciate every ounce of weight
savings in the ingenious design of MICRODOLLY gear. It is the optimal size for travel.
"The client, my most
important account," Grizzle continued. "He was utterly floored by the impact these Dolly shots delivered to the story's
message." |
|
Todd Johnson is an award-winning commercial photographer whose clients include
Toyota, Harley-Davidson and Kodak just to name a few.
On location for a Coca-Cola shoot Johnson used the MICRODOLLY
Jib mounted with a 35mm MOVIECAM to complete the behind the scenes look.
The basic MICRODOLLY Jib starts
at three feet and can be extended all the way to twelve feet. |
 |
|
 |
MICRODOLLY was on location at a castle deep in the Black Forest of Germany
with Director of Photography Brian Hawkins. The shoot was for AUDI.
"My clients have always been impressed at the
concept of getting beautiful Dolly shots without the hassle of large crews and large amounts of set-up time," said
Hawkins.
"I purchased my MICRODOLLY Kit in 1997 and I've taken it all over the world. It's a great product."
|
|
MICRODOLLY was on-stage in Hollywood with Director of Photography
Larry Benedict. "Because they're so focused on content, many corporate clients don't often think about camera movement," said
Benedict. "Fortunately this particular client knows that even subtle camera moves can help engage the viewer."
"With
this set up," continued Benedict, "we used the MICRODOLLY Curved Track to help us concentrate viewer interest on the
demonstrator as we moved around her. It made a very effective shot." |
 |
|
 |
MICRODOLLY was on location with Director of Photography Ira Raider. The
shoot was for HBO SPORTS 50th anniversary salute to the American Corvette sports car.
"HBO was looking for that extra
little bit of production value," said Raider. "So we used our ultra-light MICRODOLLY Camera Dolly to get some beautiful
tracking shots."
"I've been using the MICRODOLLY System for years now and when time and budgets are tight,
it's one of the best productions tools available," concluded Raider. |
|
MICRODOLLY was on location with Director of Photography Tom Zdunich. The
shoot was for Dixie State College in St.George, Utah.
"One of the locations was in Snow Canyon," said Zdunich. "To
get shots of people hiking the area, we packed in our gear and the MICRODOLLY about two miles up the canyon. We tracked
on rock faces, trail heads and where ever we could see a good shot."
"I don't know why every production house in the
country doesn't have a MICRODOLLY." continued Zdunich, "It's really cool!" |
 |
|
 |
MICRODOLLY was on location in Alabama at the Southern Poverty Law Center
with Director of Photography Rob Rainey. The shoot was for Firelight Media Productions.
"I used the Video Glasses
which enabled me to monitor the camera regardless of my position while operating the MICRODOLLY Jib," said Rainey.
"We used extra batteries and sandbags in the folding weight cage as counterweight." Rainey who hails from the Atlanta area
also used his MICRODOLLY Camera Dolly for the shoot. |
|
An infamous crimelord steals a noted artifact. A striking beauty has her sights
on stealing it back. She is Jewel Raider, a A55 Films production. On location in Hollywood, Jeff Centauri directs a scene
for his latest digital film. Centauri and his partner Edy Ong describe their project as "a high-octane, erotic action movie
with incredible stunts and furious fights."
"We own both a MICRODOLLY Jib and Dolly System," said Centauri.
"Together they help give our films a lot more production value." |
 |
|
 |
MICRODOLLY was on the streets of Los Angeles with Robert Finley, Director
of Photography (behind the camera) and Writer/Director Hugh Ross.
"The name of the project is 'Change for the Meter',"
said Ross. "It's the story of a classic battle for one man's soul."
"We used the MICRODOLLY Camera Dolly and Track
System to give the scene a fluid look by tracking between the characters." continued Ross. "It gave us the desired look
using only the absolute minimal number of crew." |
|
MICRODOLLY was on board with Director of Photography Anthony
Lenzo and Air Sea Land Productions.
"I just wanted to send you some pictures of our crews adventures using the MICRODOLLY
Suction Mount," said Lenzo. "We have faith enough in the gear to mount 100,000 dollars worth of Sony F900 High Definition
Camera on basically anything, even a running train." |
 |
|
 |
MICRODOLLY was on location in Alaska with Home Run Entertainment. The
shoot was for the Food Network. The Director of Photography was Jeff Freeman. "The finished show looked like we had a large
crew, but we only had four people," said Freeman. "By dollying during the host wraps, we were able to see much more of the
dramatic Alaskan glacier scenery in the background."
"MICRODOLLY always adds that high-end look without the
big time hassles," continued Freeman. "It's one of our favorite tools." |
|
MICRODOLLY was on location in Rome with Producer/Director Duane
Abler. "The High Definition shoot was part of a series being produced by Vision Media Productions." 'Quest for the Real Paul'
is being shot on locations where the Apostle Paul visited late in the first century," said Abler. "From the Mediterranean
Island of Patmos to the main plaza of the Vatican, the MICRODOLLY Jib, Dolly and Suction Mount have made
a huge difference in the way we're shooting."
"The portability and ease of setup make these systems ideal for international
travel," concluded Abler. |
 |
|
 |
The MICRODOLLY Camera Dolly System was on location in Singapore with Director
of Photography Laurie K. Gilbert, SOC of, "L'Image Cinematography."
"From boardrooms in Geneva to helicopters in Capetown
and from dry-docks in Korea to the bridge of mega-container ships in Brussels, the MICRODOLLY Camera Dolly did it all,"
said Gilbert. "It was a four week, seven country, global road warrior shoot. MICRODOLLY is so lightweight it can be
taken and used effectively anywhere. This is an amazing piece of equipment!" |
|
MICRODOLLY was out in the Galapagos Islands on location with
Cinematographer Joseph Pontecorvo and Producer/Director Alison Ballance. The hi-def shoot was for a new wildlife series produced
by Natural History New Zealand, Ltd and NHK.
"Each day, we were making wet landings ashore from small inflatable dinghies,"
said Ballance. "So, the compact size and light weight of the MICRODOLLY Jib and the Power Head were very important.
The Jib was simple to set-up and easy to move around even in rough terrain. We used diver weight belts and rocks as
counter-weight." |
 |
|
 |
MICRODOLLY was on location in Hollywood for a shoot with Douglas Bankston.
The shoot was a test review of the new A-Cam film camera. Bankston is the Associate Editor of American Cinematographer Magazine.
"As well as being a very serviceable primary camera,the A-Cam is perfect for squeezing into tight places," said Bankston.
We used the MICRODOLLY Suction Mount to attach the camera to a Jeep Wrangler for the film test. This versatile Mount
allowed us to place the camera inside and outside, even underneath the vehicle." |
|
MICRODOLLY was on location in the Loire Valley of France with
Director/Cameraman Brian Hawkins. The shoot was for a Neiman Marcus Video News Release.
"Time and again, I've taken
the MICRODOLLY all over the world," said Hawkins. "For a one man crew like myself, clients are impressed at getting
Dolly shots without large amounts of set up time."
"My MICRODOLLY Kit was purchased in 1997 at ShowBiz
Expo and I take it with me everywhere." concluded Hawkins. "Thanks for such a great product." |
 |
|
 |
MICRODOLLY was on board with Director of Photography Christian Schneider
(far right) just off the coast of Thailand. The HDTV 16x9 shoot was for Chevron Texaco and included locations in Angola, Kazakhstan,
England and Venezuela.
"The project was just riddled with difficult locations, from boats to deserts to jungles,"
said Schneider. "Each locale also demanded fast setups and it certainly put our lightweight MICRODOLLY Jib to the test.
I'm happy to report MICRODOLLY came through despite muddy clay, salt water, 120-degree heat and some pretty mean baggage
handlers." |
|
MICRODOLLY was on location in the Cascade Mountains with Director of Photography
Barry Gregg of Life Tree Studios. The shoot was for Mountain Safety Research.
"The climbing team carried in our film
equipment and cold weather camping gear to about 3,000 feet above the snow line," said Gregg. "We pre-set in the afternoon
and started filming at 4AM to catch the first bits of sun striking the peaks."
"We could never have accomplished this
shot without the light weight MICRODOLLY Jib and Power Head." said Gregg, "It was the best solution." |
 |
|
 |
MICRODOLLY was on location in Alabama with Director Jim Watt. The shoot
was for the "Discoveries America" series.
"This is the only Coondog Cemetery in the world," said Watt. "There are
some 175 dogs buried here and it's better kept than many people cemeteries."
"We travel with our MICRODOLLY Kit
with Curved and Straight Track, as well as our MICRODOLLY Jib. They are both invaluable in adding production
value to our High Definition shoots," concluded Watt. |
|
MICRODOLLY was on stage in Hollywood with Director of Photography
Les Wisbrod and Producer Seth Krugliak.
"The commercial was for RITMO MVNDO watches," said Krugliak. "These are expensive,
high-end products and our Director John Kovac very much wanted smooth, gliding camera movement on virtually every shot. That's
why we used the MICRODOLLY Camera Dolly and MICRODOLLY Jib."
"We had an ample budget, but talent and
time are always at a premium. This is especially true when you're going for a glamour look," concluded Krugliak. |
 |
|
 |
MICRODOLLY was on location in Canada with Director of Photography Lincoln
Lewis and Jib Operator Barry Gregg. The shoot was for Mercury Motion Pictures.
"Director Ben Medina wanted
to shoot in a remote location that made it impossible to use a large heavy jib arm," said Gregg. "For the final 'Henry the
Sixth' scene we started on a close-up and boomed up through the smoke to reveal the aftermath of the battle. I also used our
MICRODOLLY Power Head to keep the principal actor in frame as we rose up for the final shot," concluded Gregg. |
|
MICRODOLLY was on location in Iraq with Director of Photography
MaxPaul Franklin. The Hi-Def shoot was for the Kurdistan Development Corporation.
"We used our MICRODOLLY Jib
and Camera Dolly extensively," said Franklin. "As well as shooting in confined areas, it made moving shots possible
at the top of mountains that we could not have done any other way. The MICRODOLLY equipment paid for itself in the
first month of use," concluded Franklin. |
 |
|
 |
MICRODOLLY was on location with Director of Photography Rob Rainey at
a major weapons manufacturing plant.
The shoot was for the NBC television network series "Dateline". The segment dealt
with the availability of 50 caliber weapons such as the new "Marksman" sniper rifle.
Notice that Rainey used Video
Glasses for his video monitoring source when shooting with the MICRODOLLY Jib. |
|
MICRODOLLY was on location in the wilds of the Canadian Rockies
with Director of Photography Frank Mirbach of Mineworks Films. The film tells the story of the legendary "Lost Creek Mine".
"We own the MICRODOLLY Jib, Camera Dolly and Mount Systems," said Mirbach. "All of the gear is
incredibly lightweight and was therefore easy to transport into the really remote locations where we needed to film." |
 |
|
 |
MICRODOLLY was on location in Havana Cuba for a feature length documentary
on Frank Sinatra. The Director of Photography was Dan Coplan.
"We used the MICRODOLLY extensively and got some
beautiful movement," said Coplan. "I was pleasantly surprised to see that we were even able to set up the tracks on cobblestones,
on board walks and grass!"
"The nature of our shoot required that we take something compact and lightweight. This
was the first time I had used the MICRODOLLY and I was very impressed," concluded Coplan. |
|
MICRODOLLY was in the Navajo Nation on the rim of Canyon de
Chelly, Arizona with Arthur Rasco, Director of Photography and Tec Petaja.
"The MICRODOLLY Jib gave us the
edge on this production literally and figuratively," said Rasco. "We had a fast paced production schedule in which we needed
to get the shots and move on!"
"We also shot in Monument Valley and Sedona. With the MICRODOLLY Jib we got
some great shots and we were able to travel and set up quickly from one location to another," concluded Rasco. |
 |
|
 |
MICRODOLLY was on location in Austria for a Hi-Definition shoot with Gary
Feblowitz, Director of Photography.
"The show was on the World Body Painting Festival," said Feblowitz. "We always
travel with our MICRODOLLY Jib and Power Head because the combination gives us unlimited control of camera movement.
This adds tremendous production quality to special event coverage like this,"
"The portability of the MICRODOLLY
equipment makes it perfect for crews like ours that travel a lot. We wouldn't leave home without it," concluded Feblowitz.
|
|
MICRODOLLY was in Italy for a High-Def shoot with Director of
Photography Roberto Pistonesi.
"We were about 20 km from Rome," said Pistonesi. "The location was up in the Sabine
hills near Tivoli. The scene was for an Artigianal Pasta television commercial."
"The Director Roberto Gollinelli
wanted a shot of the driver of an old delivery truck as he navigated the road through the hills. We used the MICRODOLLY
Suction Mount to position the camera over the front of the truck looking back through the windscreen," concluded Pistonesi.
"Bellissimo!" |
 |
|
 |
MICRODOLLY was on location with the Hollywood Master Storytellers Series
Director Shaun Halladay.
"This live event showcases Actors and Producers screening and discussing their work," said
Halladay. "Actress/Producer Drew Barrymore and her producing partner Nancy Juvonen were featured in this episode."
"It
was a large audience, so space was very limited," continued Halladay. "We used the MICRODOLLY Jib and Power Head
because the Jib has a Weight Cage for the counterweights allowing us to operate in much less space." |
|
MICRODOLLY was on location in England with Director of Photography
Jason Graham, SOC.
"The programme was part of the "Mad For Poetry" series," said Graham. "This episode was Directed
by Petal Felix. It featured a woman who suffers from Bi-poler disorder and how she found inspiration through poetry and dance."
"Our MICRODOLLY System continues to impress clients by adding a whole new dimension to any filming situation.
We plan to use it up in the Welsh Mountains on our next shoot," concluded Graham." |
 |
|
 |
MICRODOLLY was on location in Louisiana with NBC Nightly News. The Director
of Photography was Jerry Hattan.
"We were doing a story every day on Hurricane Katrina victims," said Hattan. "We
were driving about 150 miles a day, on average, in areas that got really hit hard."
"Typically, when turning in a
story a day, you're always short on time," continued Hattan. "So, to be able to set up the light weight MICRODOLLY Jib
so quickly definitely gave us an extra edge. And it gave the Producer shots with more production value."
|
|
