Friday, October 20, 2006

Friday Photo

Cable Cart

Taken at the Los Angeles Sports Arena (slated for destruction soon, which is probably why they didn't really care that we were rolling cable carts across the basketball court), October 2006

Wednesday, October 18, 2006

To sleep, perchance to stay that way for a few hours longer.

On Saturday, I'm starting a job that will have me in splits (half day, half night - about 4 pm to about 3 am) for five weeks.

When I'm given a chance to fall into a consistent sleep pattern, I tend to be a fairly early riser - I'm almost always up before 8 am. This must stop if I'm going to make it through the first week of this job without being a raging bitch and tormenting my co-workers.

I've been trying to stay up late and sleep late, but no matter how late I'm awake, I'm still out of bed by 8 am.

Dammit. I'm working a split today (on a commercial), so hopefully I'll be able to stay asleep later tomorrow.

Tuesday, October 17, 2006

At least I know I'm not crazy.

Yesterday's work was preparing a set for a TV show - we were getting it ready for first unit to shoot and I don't think it's been used in a while, because a lot of the power had been re-routed to other sets and some of the lights had been taken down.

My job was to check and make sure all the practicals (a lamp you can see on screen), wall sconces*, and duplexes (wall outlets) worked in this huge set - there were about 50 practicals and duplexes.

I got all of them working, except two sconces and a duplex (all on the same wall) - I had the dimmer board operator bring them up on the dimmer system, and nothing came up. I checked again, and tried the neighboring numbers. I crawled all over the set to see if they'd been repatched into 'hot' power (sometimes the dimmers get wacky and we have to do this). Nothing. My boss went up into the perms to check the power up there. Nothing. We couldn't find where they were powered from.

I damn near went bananas trying to find the tails (because if I can find the cable that's powering the sconces - the tails - I can trace them out and find where they've been plugged in), and at some point during the process I'm fairly certain my boss formed the opinion that I was an idiot (Boss: "They have to be plugged in somewhere." Me: "I got nothin'").

On the back side of the big set, and directly behind the wall with our dead sconces, they were painting a walk in closet set - as I stood there, staring at the top of the wall, hoping I could make the connecters for the lamps appear by sheer force of will, I noticed that the floor had sawdust on it.

"Say, when did you guys build the set on this side of the wall?"

The painter looked up "Yesterday, why?"

"Would you happen to know if they disconnected some of our cables?"

Just then, one of the construction guys walked by.

"Oh, yeah. You had three connectors back there - I figured you didn't want connections sealed in the wall so I cut them off for you. I figured you could drill down with a [piece of equipment only the construction department has], then pull a new cable up so your connectors will be on top of the wall."

In the construction guy's defense, he's right. One does not want cable connectors buried between walls where no one can get them. In any power run, the connections are always the weak point. Cable almost never catches fire (it can, but you really have to work at it). Connectors melt and/or burst into flame all the time.

But I'm not a construction guy with an arsenal of strange drill bits and power tools which one needs a license to operate. I'm set lighting - you want to know what I've got on my toolbelt? I've got a Leatherman, a pair of moldy gloves, and a chalk bag full of clothespins, that's what I've got. Drill down, indeed.

When I told my boss what had happened and why I wasn't able to get the sconces on, he wanted to know if we could just cut thorough the wall directly behind the sconces and duplex - he figured they'd have clothes hanging in front of it (since the set's a closet), so no one would see the holes or our power.

"I don't think so," the painter said. "I don't know how they're going to dress this and if it's in the wrong place, it could get ugly."

I hate to be the bearer of bad news, brother, but it's ugly now - I have to have those lights on because of course, if we can't get them on, guess what they're going to point the camera at first thing?

When I told the rigging gaffer that his solution wasn't going to work, he just shrugged and said "Well, go get the [piece of equipment only the construction department has] and start drilling. We've got to get those hot."

So, we got the [piece of equipment only the construction department has], figured out how to use it and then cut straight down through the set wall to the sconces - then we tied the cable to the string we'd sent down and pulled it up. It took us over an hour to do the two sconces, and we couldn't get to the duplex at all because it was on the bottom of the wall and the [piece of equipment only the construction department has] wasn't long enough to cut through 10 feet of serious miscommunication.

Due to the shape of the big set (and how the second set was built behind it), we couldn't even drill to the duplex from the side. I ended up putting the plate back on and labeling it "N.F.G." where the dimmer number would be.

*What is it with set designers and wall sconces? I can count on the fingers of one hand how many homes I've been in that have wall sconces, and in movie-world, every single private home has them on every single wall.