Welcome And Guest Introduction

Vipul Bindra 0:04

Welcome to another episode of Studio B Sessions with me, Bindra, owner of Bindra Productions here in Orlando. And like always, we have Mario on the producer desk helping us make this amazing episode.

Mario Rangel 0:16

Hey guys, nice to see you again. Hope you are having a great day.

Vipul Bindra 0:22

And our guest today is Josh Reimer. You're a first AC. And uh we had an incredible conversation, I would believe I think a week or so ago. So I was like, we have to record this. And so thank you for taking the time out and coming out and talking to me.

Josh Reimer 0:36

Of course, it's my honor. Yeah, this is great.

Short Film Turned Feature Film

Vipul Bindra 0:38

So, how's the week been for you?

Josh Reimer 0:40

It's been a tough one.

Vipul Bindra 0:42

I know you mentioned you were on a feature or something, right?

Josh Reimer 0:44

Yeah, yeah. So there's a movie shooting in Orlando right now. Um, really, like, really dedicated casting crew. And it started out as a short film. It's one of those movies that, like, they made a short film, it blew up, it went to all these film festivals, and like it was really just one of those projects that inspired people. And they got a grant from PanaVision, and PanaVision gave them a budget. They give them, they gave them all this equipment, and they're now making it into a feature film, shooting it here in Orlando because that's the director's hometown. Um, and uh it's it's going well. It's um it's a really interesting story that I can't talk about, but it's uh it's a really interesting story, and we're getting to work with people of all different, you know, like races and and religions, and um like people with disabilities, which is interesting because um I've never really worked with with people with disabilities. So wheelchair users and um people with cognitive disabilities and working around those people is is kind of different. And um, it's been a learning experience, but it's been great. Um, it's been hard work. We've been filming in Lakeland, beautiful, beautiful place actually for the past few days. Uh Bonnet Bonnet Creek, no, Bonnet Springs, Bonnet Springs Park in Lakeland, which is beautiful. And um we've just been filming there and uh getting a lot of stuff the past few days, and now I'm on my very valued uh few days off. I'm just taking it easy and doing creative stuff like this, which is great. I love doing stuff like this.

Vipul Bindra 2:19

That's awesome, though. It sounds like an amazing project. Uh and uh and and funny enough, this reflects back to that podcast episode I had had with somebody asked me, you know, we're talking about short films, and I was like, you know, typically they don't lead to anything. So this is a great opposite example where, like, hey, if you do make something amazing, uh it can get you noticed, and then you can get a budget to make something um like a feature or whatever, right? Because that I think that's the incredible story here from what you're telling me about this project.

Josh Reimer 2:48

Yes, absolutely. Like I truly believe in the power of short films, like there's a lot of power in short films, and um, it is a fantastic way to display your talent as a director, director, DP, um, and you know, work with your friends, and really that's how it starts. Like, it really is that innocent sometimes. If you uh make a short film and you work with your friends, and it doesn't matter the budget, but you make it about something that is like undeniable, like it is a story that people can relate to and just like level with at such a you know a different frequency, like that is something that can go a long way. It really all comes down to the story. And um, so this feature, which has uh, you know, a pay it has a scale um of uh like 1.5 million and it's non-union, but it's we're using you know um sag actors and and we're uh it's just like it's a it's a bigger project for the narrative world here in Orlando. Uh grand scheme, not huge, bigger for Orlando. And it's you know that came from a short film.

Vipul Bindra 3:56

Yeah.

Josh Reimer 3:56

Just a short film that they really marketed and got around and they they caught people's eye, and uh, you know, people saw for what it was, which was a really beautiful story, and it is a really beautiful story, and I can't wait to see how it comes out when it's adapted to this feature-length film.

Why Short Films Still Matter

Vipul Bindra 4:12

And that's awesome, and that's the whole power of why I wanted to do this podcast is so people can hear from you know just different perspectives, because my perspective hasn't been that, right? I know a lot of people made short films and gotten over. Yeah. Uh, but I do want people to not know hear just my experience, I want people to hear the the other side of it, and you are one that you're actually working on, getting paid to work on this amazing project where it started off as a short film. So there is, I guess, uh a great perspective that hey, a lot sometimes it does work. Yeah, so it's just important to go out there and create and then market it, and then you know, as long as it's awesome, it can lead to something. Absolutely. Yeah, and I'm guessing you're a first AC on this project.

Josh Reimer 4:56

Yeah, so I'm I'm B Cam first on this. Um, so we have two units, and most of the time we're working together. Sometimes we split off. Um, and so uh I'm working with the B cam op and um I also work, you know, closely. Camera department is very tight-knit, yeah. Um, which I I think is something that uh you know is really special. And so I work with you know, just as much as I work with the B Cam op, I'm also working with A Cam unit, and and um and I'm just as close with the DP. And it's wonderful.

Vipul Bindra 5:26

That's incredible. So you're you're also oping the second unit, um, and then like you said, you're helping the first unit, so that's pr expensive role. But I guess on a sh in a lower budget movie that's even though it's big for Orlando, still lower budget. It's kind of you know, you have to have multiple hats, right?

Josh Reimer 5:43

Uh so not so much. So I I I'm working very closely with them. I'm not oping. I'm still very much first AC pulling focus. Um, but it's it's great because on some movies, when they have a B cam, you just never really see the other unit. And so it's wonderful because sometimes, sometimes it's like that. And then some days we're just like really all together. And it's one I love shooting, just like two cameras, getting two cameras on a scene, and like I'm just feeding off of the A Cam first AC's energy, and we're you know talking about the scene and like what B cam is doing different than A cam. And I like that different perspective. Most of the time, I'm A Cam first AC, and so I'm on the main camera, and this time I'm on B Cam, which is it's actually my second time being a B cam first. Uh, usually I'm only A Cam. And so this is I like the different perspective of shooting from a secondary camera.

Vipul Bindra 6:35

But that's a pretty cool perspective too. So they have two units. Sometimes you know you're doing multicam, so the both units are working, and then sometimes you're separating and doing your own thing. Yeah. So that's pretty cool. Yeah, I mean, it's it must be a unique perspective because you know, like you said, you work you have a counterpart on A Cam who's doing their thing, so you know, a good collaborative thing.

Josh Reimer 6:54

Yeah, absolutely. And like if you've worked on a film set before, I mean, you just know how much like it starts to feel like a family, and it's just like so much more of that on this movie because we this movie has a lot of people and there's so much passion in it. I mean, when I first got contacted about the role, and the DP Farad talked to me about the role, he sent me the lookbook and he sent me like the pitch deck and uh and the link to the original short film. That is amazing. Like, I don't I hop on these projects, I never know anything about it. I'm just doing it like you're I'm being hired as a focus puller, like I'm a first AC, they need a first AC, they need someone to hop in there. The pitch for me on this movie was kind of like we need somebody in this role. Look at what we're doing, look at the passion we have. Do you want to be part of this not just for the money, but also because you're gonna be a part of something very special? And that's a difference that, like, wow, uh that's something I haven't really seen before.

Choosing Life As A First AC

Vipul Bindra 7:53

Exactly. No, that's awesome. So, why first AC? Uh, let's start with that. Um, sure. I uh I don't know. I guess you tell me why first AC. Oh my god. Um, did you get thrown into it or you actually chose it?

Josh Reimer 8:06

No, I chose it. I did, I I I love cameras. I have like been, I have always been a fanatic about cameras, and I'm like a gear head. I I love creativity, I love obviously, like I wouldn't have gotten into the film industry if I didn't love movies, but I I I'm a technical person. I love cameras, I love different gear and the differences between gear and like what geared, what lenses look, you know, like this and what lenses look like that, and the discrepancy between them. And so I, you know, I I got into it. I feel like a lot how a lot of people get into it, you know, just a pure love of cinema. I went to Valencia, uh, which is shout out Valencia, amazing film program. I mean, I they really just gave me such an amazing.

Vipul Bindra 8:50

Valencia versus full sale. Controversial thing. Yeah, these are two schools here. Oh, yeah.

Josh Reimer 8:57

Um, you know, you have to think about you have to really think about Mario may have a different perspective, huh?

Vipul Bindra 9:02

Full sale versus Valencia. Film program. I mean, I don't know. You're gonna pick the rivals? Because he went to full sales, so yeah, I know they're rivals, but how dare you? I don't like to be a rival. Yeah. Okay, so I know. I mean, I know people from Valencia under good programs.

Josh Reimer 9:25

The truth is nobody's rivals. It's like I've worked with so many amazing people from full sale. I've worked with some amazing people from UCF. Yeah, there are differences between these film programs. You have to look at those differences when you begin. But you know, honestly, for me, it full sale. I did look at full sale. I went on a tour of full sale. It was amazing. Like, I couldn't believe the facilities that they had. It was a budget thing for me. And I think that's how it starts for a lot of people. It's a budget thing. The truth is, full sale is expensive, it's a private school. Valencia is a community college, and a lot of people look at Valencia, they're like, it's a community college. What kind of film program could they have? A really amazing one. I couldn't believe it.

Vipul Bindra 10:06

It really actually blew my mind. Yeah, for community. I mean, the the program is great. I've I've seen it, and uh I I mean, and that's the power of Orlando in general. Yeah, you know, how many cities, I don't know, other ones, where you have three incredible programs, uh, because you have UCF, yeah, you have uh a full sale and obviously Valencia to choose from. So that's a lot of options for somebody wanting to get into film. It's amazing to pick it without leaving, you know, your your hometown. Or if you like Disney or whatever, come here and study and you know have fun on the weekends. Absolutely.

Josh Reimer 10:35

Yeah, no, there's so much opportunity here for film. Um, and and it's crazy because it's kind of a you know, it's a little ironic because there's not much of a film industry in Orlando, but there's a lot of opportunity to learn how to be in the film industry. Um, and uh you could make it work, you can make it work if you want to make it work. Um, but I went to Valencia, I really, really loved it. I'd recommend it to anybody. It's such a hidden gem, and they just gave me such an amazing just foundation of like what I know. I mean, it was just hands-on constantly. They teach you all the roles of being on a film set so you get to choose what you want to move into. And I learned sound, I learned lighting. I mean, lighting is amazing, like there's such an incredible like being a gaffe for lighting, there's so much inspiration there and so much like opportunity. And but really what I fell into was working on cameras. I love it. You're like on the front lines, you are you are so important to the project, like you're essential. And um, first day seeing, first assistant camera, that is really that's the role that I fell into. Um, I like leading, I like um, I like you know, leading and and being the head of something and kind of being a key. Uh, I like feeling uh important and it's very satisfying to me on set when I'm able to direct the when I'm able to direct something on set. Um, because then I still feel like I'm in a creative role while I'm I'm being technical. And as a first AC, you are the focus puller. It's one of the main parts of the job, and you are responsible for keeping the image sharp. There is a instinctual like creativity in that, in which you you have to have like this instinct and you have to you have to make decisions sometimes on the fly. The focus is where the viewer looks. It's not something that could be changed in post, it has to be done live. It's really interesting because a lot of things could be changed in post, but not focus. Yeah, no, you're guiding, yeah.

Vipul Bindra 12:43

Uh which it's random thought. It reminds me years and years ago. Do you remember this camera came out? It was like you could change focus. Oh my god, it was like a box essentially, lens in it. I don't anyway.

Josh Reimer 12:55

I know exactly what you're talking about. Yeah, right.

Vipul Bindra 12:57

It was a long, long time ago, and I still remember they were like, you can change focus in posts, but you're right. Yeah, most spherical or anamorphic lenses, you cannot change focus. It is, you know, locked in. Yeah, and this random project that I all of a sudden remembered is long gone. I don't think it worked out.

Josh Reimer 13:12

No, it didn't work out. It it, you know, it was just um it just didn't take off. Uh, and I don't know why, but it was a brilliant idea, and uh I do remember that. Yeah, um, but no, focus is is so interesting to me because you're directing the viewer's eye. Um, and it sometimes like I I work with the DP, I work hand in hand with the DP because sometimes there are shots where there's a scene happening and there's multiple characters, it's you know, an emotional scene, a dramatic scene, whatever. The focus is is important. It's not, you know, you don't want to just bounce back between people. You want it to be, you want it to be um just purposeful. Yeah, you want it to be purposeful, you want to direct the film.

Valencia Vs Full Sail Reality

Vipul Bindra 13:53

And I think it's very important, like it on my side, and obviously we're not doing movies over here, but we're doing corporate and commercial work. It drives me crazy. And and you know, because it's not that I don't think it's an issue in film, but like in corporate uh environments, these people are demanding us to make you know, like give us give them more depth of field. Like they want if they could have a T.5 lens, they would. So I'm saying, so a lot of times we're shooting T1.4, and you know how shallow your depth of field is there and your roll off. So you know, uh, so uh it drives me crazy sometimes, you know, when we have to shoot T14 and then the eyes are not in focus. I'm like, I I'm tired of like having to then ask the editors because then we have to go and post and we have to track that. Thank goodness for modern tracking tools, we can do that. Track the eyes, add post sharpness. So you can, you know, somewhat fix it. Somewhat. But somewhat, yeah, it's not perfect. But you're right. Like at that time, I'm like, oh my goodness, like these eyes need to be in focus. That's the focal point for me of any person, especially what we're doing. Um, you know, um, to me, that's where we show intent of whoever's on camera. Uh, but it it it's pretty common, at least in my world, where we're forced to film, you know, such wide open, and then the eyes are not in focus. Whether it's autofocus or human, it's just hard to keep up.

Josh Reimer 15:09

It is, and it's like little intricacies like that that makes me really enjoy the job. Like focus is storytelling, it's a it's one of the ways that you direct the viewer's eye, and I'm responsible for that. It's an amazing feeling. I love it. And if I do my job right, nobody will ever know that I did it at all. And that's fine.

Vipul Bindra 15:29

Yeah, that's uh that's a part of it, right? Because if they're noticing it, no, something went wrong. Exactly. So that's pretty cool. Uh, you know, and and just for some, I mean, most of our audience that I assume is filmmakers, so they should know. But for somebody, let's say who's beginner, outside of pulling focus, what does a first AC do? Oh my god, uh, just a million things. I could talk about it. We could fill up this whole two hours with it. But I'll let's make it brief. We're gonna make it brief. Let's say somebody's beginning is like, so do I just pull focus? And I know you obviously you have to do a lot more. So kind of brief overview of what what all that extra stuff is beyond pulling focus.

Josh Reimer 16:03

So when you learn about the roles on set, or at least this was like my process, and I feel like it's a lot of people's process, you start like, okay, so there's the director, and then you realize wait, there's a lot of positions under them. And then you learn about the positions, but you learn like the key points of each position, kind of like the headline. So for focus for first AC, it's a focus puller. Focus that's you know, you're a first AC, you're a focus poller. Yeah, and it's true, it's a big part of the job, it's an essential part of the job, but it's not the biggest part of the job. The biggest part of being a first AC is being a camera technician. And this is how I sum up the job to mostly everybody. I'm a camera technician, so the DP is big picture. He is, I mean, he's a creative, he, she, you know, their creative role. The DP is a very, very creative role. And they are literally shaping the look of the production with the director. They work hand in hand, and they don't have time for when the wireless goes out, or when the batteries run low, or when I don't know, the lens has some aberration that shouldn't be there. Um, they don't have time for that. That falls on me. So um, as the first AC, I'm a key, I'm the leader of the camera department. Uh, so under me would be like the second AC, followed by like uh a second uh an additional second or a camera utility um and the DIT. And uh there's you know, there's multiple rows uh roles that could be added into the camera department, but the main ones are first AC, second AC. And so I'm responsible for everything relating to the camera. It's really troubleshooting, it's maintaining the integrity of the image, which is you know key. Um making sure that the settings are correct, uh, you know, setting settings for the DP, moving the camera where it needs to be. If he wants to do a dolly shot, we're getting the camera up on the dolly. We work with G and E to do that. Uh sticks, hi-hat, handheld. We configure it for whatever. We switch lenses, we clean lenses, filters. It's a gazillion things. But uh, you know, the I'm a camera technician, and that's really how I would say.

Vipul Bindra 18:12

How many bottles of pancreas do you have at home?

Josh Reimer 18:15

Many. A lot. Yeah, use a lot of that stuff, exactly.

Vipul Bindra 18:20

So so this is uh, you know, and and and and that's why I'm like, you know, it's a very expansive role. Like you said, most people just go, oh, focus buller. But no, when you have a first AC, and like I said, to me in corporate and commercial work, and like I said, sets are getting smaller, having a first AC, we were talking about this is like a privilege. But if whenever I do, it's such a help because uh it takes away so much. Because usually I'm the guy, I have to DP, but now on top of that, I have to be the technician, and I'm like, you know, that's dividing your attention. And if I could, I'd rather not, and then that makes it which is why I've devised my formula now, at least for my work. I make sure before we even show up, I've dialed all the settings and the lenses and everything. Yeah, it's great, which is good, but that's extra work. You know, it's not like the work is just eliminated, you know. A lot of people think I've had that. So uh where I'll show up with a friend and you know, we'll shoot a big production, and then they're like, Oh, it went smooth. Yeah, it didn't go smooth because you know, it went smooth because a day or two of pre-production or uh, you know, or the technician work that happened in the in the back, and so that we could accomplish um all that, and and that could have been avoided had we had a first AC or a second AC or whatever, like a team helping us configure that on right, and which is what you're doing. You're you're taking that because most productions don't have two days before to be setting up settings and lenses and all that, exactly.

Focus As Storytelling Under Pressure

Josh Reimer 19:40

So that you know that uh we do that, but you know, it falls on me instead of the DP. So um it's a prep. And and so you know, ACs do have uh pre-production. We have a prep, some days two days of prep if it's a big show, and uh that's when all the gear comes in and we're gonna build it, we're gonna set the settings, we're gonna fix every single problem, whether it be, you know, the wireless is busted, it's not connecting, or something as stupid as I don't know, the focus motors interfering with the the handle going on the rosette, something like that. Just little ergonomic problems that need to be fixed before you step on set so you don't encounter it on set. Um, camera always has to be up first. Cameras just, you know, it's essential. Like people want to look at the image. We are the department that is we everybody, all the focus falls on us. Like we gotta be up and ready. The DP says, I want this on a 35, I want a handheld on my shoulder. He's gonna want it now. Yeah, and so we gotta be ready for that.

Vipul Bindra 20:36

Exactly. You gotta kinda already be envisioning what the DP wants, right? And be ready for it. Anticipation. It's pretty cool. So, what what what kind of projects are you normally on? So, talk about the scale. Obviously, like you said, Orlando isn't huge in film. I mean, we have random projects happen, but so you probably have to either travel or what do you do? More commercial work locally. Talk to me about that.

Josh Reimer 20:56

Like, what's I I do a healthy blend and um I really enjoy that uh because it you know, sometimes I will hop on a movie and I'll know when I'm ready to hop on a movie because movies are hard. Movies don't pay as much as commercials. It is a mindset that I have to be in, I have to be ready for it. So, you know, when people ask me to do a movie, you know, if I'm feeling like I want to go, I want to go to Atlanta, I want to go to Kentucky, I want to go to LA and do a movie, then you know, I'll go. Um, and then that's multiple weeks that I'm that you know, my schedule is filled. Um, and uh I love movies. I mean, that's why I got into this business in the first place. Um, so yeah, I travel a lot for movies. Um, and then here in Orlando, since it's not much of a narrative market because tax incentives aren't that good, uh, commercials, huge commercials are king here. So big commercials will shoot here. I mean, we have these massive theme parks, Disney, Universal, SeaWorld, and they spend a ton of money on marketing, as one would assume. I mean, they pour money into it. So um, you know, they do a lot of commercials. And a lot of companies come to Orlando to do commercials. And uh so I do a lot of commercials here, and that's really where you know you make your profit. And we also have a big virtual production studio here.

Vipul Bindra 22:10

So there's there's enough commercial, which is crazy for not having a narrative market. We do have a big commercial market. Absolutely. Uh it may not be as big as Miami, but it's pretty decent sized over here. And um, so that's pretty great because you know, we're losing movies. Uh we lost what, Marvel in Atlanta because of incentives, they're all going to UK. So movie industry in general is struggling. So it's good to have, you know, this other side where you're like, oh, I can I can do this commercial, and you can still have, you know, you can be working, otherwise, uh, you know, you may be out of work. And also the other thing is commercials, like you said, pay way better. It's a longer time commitment on a narrative, and also the pay is generally lower versus you know, commercials a shorter time frame, you can hop on much faster. It's also pay pay is higher. I'm guessing it's more easier work to somewhat because you know, I don't know.

Josh Reimer 23:00

Yeah, no, it um sorry, uh yeah, it's it's yeah, it's definitely easier. I mean, generally it's easier, uh, definitely depends on the commercial. I've had some days where I'm like on set for six hours and I pull focus on just a few shots, and then you know, I build up the camera, take it down, and I'm out, and I get paid close to a grand. And then there are some days where we're there for 14, 15 hours, and commercials like this is no movie, like these are commercials 14, 15 hours shooting so much stuff, and the rate is just like it's all right, it's not that good. Um, but it's work, it's work.

Vipul Bindra 23:39

So it it is those type of clients I was talking about where it's like they put in T14 and now you're like focus and you're like, uh, I'm sure that must be hard. Do you have some kind of tools? Like, how would you do it differently than you know? I don't know, is just a challenge for you too, or oh my god, yeah. Yeah, if I was put you in that situation, it's like, here you go, here's here's a VistaVision camera, a T14 lens, you know, now focus on the eye, talking challenge, yeah.

Josh Reimer 24:06

I mean, it's I'm not gonna lie, the job is hard. Um, and uh, you never really you never feel totally confident. You you feel great, and then this shot comes along like that, and you're like, God willing, I could get this. Yeah, exactly. And uh, you know, focus is also one of those things like oh, they don't want to do another shot, they don't want to redo a shot for focus, the focus puller couldn't get it. Are you kidding me?

Vipul Bindra 24:32

Yeah, they don't want to hear hold for focus, that would be bad, right? No, like hold for sound, hold for focus. Any of these things you don't want to be called out on set because even though, like I tell people, half the movie or half the commercial is sound, yeah. The moment you say hold for sound, you're looking bad. Yeah, and same thing for focus. It's like, yeah, you you you know, these are unsung, I guess, heroes, you know, you're running them on set, where you're like, you you're doing so much work, but the best way you can do work is just to not get noticed. Because if you're slowing everyone down, is when you get noticed more and you don't want to do that.

Josh Reimer 25:08

And everybody's watching, you know, we got monitors everywhere, the director's got a monitor, the gaffer's got a monitor, producers got a monitor, two 27-inch monitors. It's crazy.

Vipul Bindra 25:17

Yeah, they're they're they're they're like they can see you what you're doing. So I mean it's a lot of pressure, but like I said, it's also fun. You know, if you enjoy it, I think everything in the in the in the uh video industry is hard. I think it just comes down to is if you like it, then it's not hard. Exactly. You know, kind of like you know what we do. I'm like, yeah, it's very hard, but technically it's not hard because if I if you do it, if you love it, then it's like, oh, it's just something I enjoy. And I do love it.

The Real First AC Job

Josh Reimer 25:42

I do love it. I really, really love it. Um, and it's also, you know, it's very dependent on the people you work with. Yeah, people make the project. I mean, you you probably know this just as well as I do. Like, people are just so important, and and the people you work with, I mean, that is just that that makes the project. So sometimes I'll be working on a commercial with a DP. They didn't come up in camera, they came up in lighting or something, they've never been in AC. They can't maybe they, you know, got a break where they they they took the fast lane to being a DP, and that's great, nothing against them, but they they don't exactly understand the struggle of pulling focus. So they're gonna open up to one four, they're gonna do a shot, so you know, running after somebody, and you know, I may miss it, which happens. Yeah, and uh they're not gonna like that.

Vipul Bindra 26:28

Yeah, they're gonna be like, well, is this guy? No, absolutely, and that is the part of uh you know learning. I've had uh obviously, like you said, I do smaller gigs, mine are like 50 people or less, typically five to ten people is the common thing I do. And you know, we have this happen a lot on the other side where it's like uh I'll hire DPs or I'll work with other DPs and they have zero knowledge of lighting. And it's like I get it, you don't need to know of obviously every fixture and what it does and where it goes, but at the end of the day, you are the the head of the department, yeah, you know, not the gaffer. You gotta be able to communicate with the gaffer and maybe they just leave it like, oh yeah, you do your thing, and it's like no, and then be like, ah, this gaffer wasn't great. And it's like, come on, no, you didn't even talk to the guy or give him your vision or anything, you know. You don't have to know specific, like you can say, I want some light there or something, I don't know. But I have noticed this, and it's usually like you said, it's people who skip that that whole, I don't know, they went from you know, scholars, let's say, yeah, or or or whatever, or starting out and then just quickly do a bigger set, which is good. I mean, career progress is awesome, absolutely, but then like you said, that they they skip the steps to be a grade DP, and that's why they can end up struggling, you know, because they're like, I don't they don't know how to work with their first AC or a gaffer or grip or whatever, you know, their team that's under them, right?

Josh Reimer 27:47

Yeah, and it happens frequently, you know, they um they just haven't walked a day in my shoes, and that's fine, they don't have to be an AC, but you have to understand how to treat your people and how to talk to them because it's not gonna make if you come over and you scold me for not getting that really difficult shot on the first try, it's not gonna make me get it on the second try.

Vipul Bindra 28:08

Yeah, it's it's only putting more pressure on you.

Josh Reimer 28:11

Yeah, yeah, yeah. So um, but luckily I've gotten I've gotten very lucky with this. I work with a lot of DPs who have come from camera or they understand exactly what I do, exactly the struggle. And if I miss a shot like that, I just go up to them and I say, I need one more, and they give me one more. And luckily, you know, that's that's the workflow that I really appreciate.

Vipul Bindra 28:30

Exactly. Yeah, you want to work as a team, especially on a on a difficult shot. Yeah, like they gotta fully understand that you're not a miracle worker, you're really good at what you do, but you know, that's that's kind of the the limit. Like I said, because I've been in the situation where I'm like, uh yeah, like I have to kind of you know not be mad at the people pulling focus for me because at the end of the task that we're giving them is very difficult. Uh which do you have any particular uh so in your in your experience? What are the more common cameras that you're seeing in productions? Um nowadays, let's not go because you know things change so fast in our industry. Let's talk this year, 2025. What's the most cam common cameras you're seeing on set? I'll give you the top three. Yeah.

Josh Reimer 29:14

So it's the red Komodo. Okay. That is a camera used on a lot of sets because it's so versatile, it's so small, it's a great B cam. Uh, the Red Raptor, which is I love the Red Raptor. I have some problems with the Red Raptor, but I really love that camera. And that camera's used on a lot of sets because they've they red has is getting really close to the color science of Ari, in my opinion. Yeah. And I just I think the Red Raptor looks great. I think a lot of other people are.

Vipul Bindra 29:43

You're talking about the original variants, not the new X variants. I've seen that one on set two. I am talking about the original. Those are more common.

Josh Reimer 29:50

Yeah, yeah. The Red Raptor, and then of course, any Ari camera. Uh, so I guess the third one is kind of as you know, a few.

Vipul Bindra 29:58

What would you say would be the ratio between red and ari? What do you see more? Like you could say 70% Ari, 30% red, or 70% red, 30% Ari. What what are you seeing? I'd say 70, 30 Ari. Yeah. So 70 Ari is still more than 30 is red? Absolutely. Yeah. That's and that's great uh to know perspective. Because I mine, and like I said again, I don't do narrative, so I know it's a different market. But like again, I say I don't do narratives. I'll end up DPing a few randomly here and there. But normally I don't. And and so in my world, I've done one commercial this whole year that uses uh a V-Raptor. Yeah. Uh, and we had a comoda as a B cam. But that that was only because it was virtual production, and you know, uh sync is easy on those global shutters. Yeah. Uh, but outside of that, it's been all RE, so it's not red's been less common. So it's good to know that at least in the narrative world, they're still using red cameras.

Josh Reimer 30:47

They they are. Um, red is used. I mean, I've been on so many movies with red cameras. No, Venice. I know Venice is kind of popular. Yeah, Venice, I love the Venice. Uh, I've just worked with it less. Really, yeah.

Vipul Bindra 30:58

Not around what jobs they use.

Josh Reimer 30:59

The jobs that I've done, I've just worked with you would say red and already would be. Red and R.

Vipul Bindra 31:04

Yeah, that's and and that's good to know for people. Because I think the other thing is just go familiarize. Because, right, wouldn't you say it if somebody's like, oh, I just want to be a first AC, and it's like, how do I go? And I'm like, just go handle these cameras. Absolutely.

Josh Reimer 31:17

Yeah. So so being a first AC is a lot of knowledge. Um, it really truly is. I'm not gonna sugarcoat it. It's like you need to, you're looked upon to know everything, all these settings of every single camera. I don't know every setting of every single camera. Um, so as a first AC, you're always learning, you're always a student. I'm always a student. If I get on a job and they're like, and this happened recently, I was on a movie uh back in April, May, and uh the A cam was the Ari A35. Love that camera. I was like, yes, one of my favorite cameras. The B cam was the Ronin 4D. I've never worked on a job with the Ronin 4D, and I always wanted to, so I was excited, but I was also like, I've never worked with this camera, and as a first AC, I'm not gonna show up to the prep. Never in this camera.

Vipul Bindra 32:08

Okay, yeah, it's an amazing camera. Yeah, it's everywhere. I saw it was on the F1 movie and everything on the paddock. I know they were all the advertising was about the Sony cameras that they built for the car, but all the shots that I saw in behind the scenes, they were like, especially the paddock stuff, it was all grown in 4D. And it's it's fantastic. Yeah, but it does not match the RE that easy. I mean, you can the D-log or whatever, but yeah, no, it's not the same thing yet.

Josh Reimer 32:31

D-Log is beautiful, definitely not the same thing, but it is um wow, it's an amazing B cam, especially if you want something that is just up and running and always there. I mean, the camera's like it's everything. The camera's like everything. It blows my mind how just put together the camera is. You take it out of the case, it's ready. You put the you put the uh battery on, you put the media in, it's ready. Um, and it it is a cinema level quality camera, and it has just so much capability. There are a few bugs that they definitely have to work out. There are a few quirks that me as an AC like it makes my job more difficult, but for the most part, love that camera. But getting back to what I was saying, like, so you know, I'm not gonna show up to the prep never never having used this camera. Like, I don't know how to do anything on this camera. So I was at first AC, always a student, camera technology always evolving. I wanted to go get my hands on this camera. So I immediately started looking for people in the area who owned the camera. And um, I could not find any rental houses that had one. Um, and I I think Flowcam actually recently got one. But at the time, I I a friend recommended me to their friend who had who had a Ronin 40. And so I hit him up. I'm like, can I take you out to lunch? Can I use this camera? Can I like learn it? And for two hours, I sat there with the camera and I just kind of explored every button, every menu function, and I just committed it to memory.

Vipul Bindra 33:51

And that's what it's the thing I don't like about Ronin 40. You can't change most of the buttons, it's so annoying. Yeah, it is what it is. Like, why? I don't know. But yeah, I mean they'll learn, I guess. That was their first cinema camera. But uh, so yeah, you're the good thing though is once you learn it, it is there because, like I say, you can't change half the buttons to anything else. So yeah. Um, yeah, what do you think about that camera?

Josh Reimer 34:12

No, I I really love that camera. I think it is so capable. I think the Z-axis, like part of the gimbal, game changer. Yeah, um, and the battery life, really, really good. The quality of the footage, beautiful. I really like D Log.

Orlando Work Mix And Travel

Vipul Bindra 34:28

Did you not find it heavier? So here's my thing. And and then maybe just I think an inherent issue with the just learning a new camera. So I can lift a heavier camera and it's handheld or shoulder, and it's like fine because I'm used to it. But for some reason, every time on the Ronin 4D, I go with the four it's fine when you're locked in, you know, three axis, whatever. It works, I think, like any other camera. But as soon as you go Z-axis, I feel like the camera's fighting you. I don't know. Every time I feel like it feels heavier than even bigger cameras than that. So that's been like my biggest issue with the Ronin 4D. Is like, sure, sure, it's great. And like, oh, we need the fourth axis, we're gonna do a walk-in-talk or whatever. And every time I feel like the camera's just fighting against you. I don't know, maybe you didn't feel that, but yeah, I I don't know. I I feel like it feels heavier than it actually is. And as soon as I lock it, right? It feels oh, this is easy. But as soon as I'm turning four, and it's like fourth axis, and it's like, whoa, like, I don't know. And I think it's because of the movement or whatever, but it feels so heavy. Like five minutes later, I still remember Mario was in a shoot. Yeah, and I could see him, like, so I'm like, you know, deep non-operating DP because I've the uh I think it was B-roll sections. We had interview going and B-roll going, and so he was on the run in 4D, and like I could see in his eye, like he because you know it's like documentary is shoot, right? So there's there's no cut that you're just capturing, and I could see in his eye, I'm like, he he's struggling to pick this. Do you remember that, Mario? Yeah, yeah, yeah. I do remember how hard was it on your arms? It was it was hard. I mean, uh, and it also was maybe because it was the first time for me using it in like a real shoot. Um, so yeah, uh, it was it was hard, but I do think that it's uh a cool camera, it's very flexible, very dynamic.

Josh Reimer 36:10

It's definitely, you know, it's not a camera for everything, yeah, it's a specialty camera, and I would not say use that camera as your A camera unless you're trying to achieve something like adolescence. Adolescence was shot completely on the Ron 4D, which makes sense because it's so versatile, the transmission is so good, it goes so far. Like you can do so many things with that camera with movement, but on a move, on a movie, if you're like in a studio setting, you're getting this precise push and shot, like that's not the camera for you, you know. So it's definitely like it's like everything, it's case-dependent. Yeah, um, but for what it is, I love it. And yes, when you turn on the Z axis, it gets really heavy.

Vipul Bindra 36:50

You need an Easy Rig. That was like my final thing to him. I was like, okay, so Ronin 4G means we have to put our Easy Rig into the bundle or whatever, reusing it. And I I feel like that that would be my only feedback to DJI, not that they're listening to this, but it'd be like, you know, in if they can put make the same camera, I know people would want a thousand other things, and just make the weight half. I think that would come in so much handy because, like I said, it feels double the weight. So if it was half the weight, maybe it'll be the right amount of weight that I need. I don't know. That'd be the the thing I would like, or somehow reduce that that drag. I don't know the word for it, but you you know what I mean. Like it feels heavier than it needs to.

Josh Reimer 37:27

Well, the reason why the weight increases when you turn on the z-axis, and I get a little technical here, is because when you turn on the z-axis, the camera it's not, it feels like it's fighting you, it's counteracting your motions on a vertical scale. So the camera is literally push like it. That motor is pushing your camera down sometimes, and then sometimes it's pushing it up. Um, so that vertical motion is is changing the center of of gravity on that camera. Um, and so it's very unique. I, you know, I've never seen anything like it before, and it's a kind of a weird feeling when you're using it, but also uh you need to make sure not to cover the sensor on the bottom because then it won't know where it's. Yeah, exactly.

Vipul Bindra 38:09

So you can't do that either. Then it's really funny, you yeah. Uh so uh, you know, like I said, uh a good camera, but it's also four years old. So hopefully DJ has something up their sleeves. For sure. And uh yeah, that would be my only main gripe with it. Because I I do really like the image and and the you know, the like you said, the transmission and all of that. Um, like you said, uh the that was my biggest thing, operating it. I was like, this this does not need to feel this heavy. I get it. Like you said, there's a technicality behind it, so maybe they can just make the overall camera lighter so the big the how much it's fighting against you is less in general. Uh, but that's pretty cool to know that you guys were able to use an Ari and uh you know Ronin 4G. Which one was it? Was it the 12k or the 6K? It was the 12k. Yeah, so at least that sensor uh is is so much dynamic range, too. Yeah, it's beautiful. So that's pretty cool. So yeah, uh, I mean, look, you're that coming back to that perspective, yeah. You can just go out, find people in your network, hit them up, buy them lunch, or just rent it for a day, and uh, you know, even if somebody's not in your network, because at the end of the day, all you need to do is just familiarize with your camera. You don't have to go buy it. You know, a lot of people just go, Oh, I can't own an R. You don't have to. I don't own an Ari. You know, and then buying, I once bought it like in the beginning of my company. I was like, Oh, we have to own the Ari. You know, it's the silly thing you do. At that time, you had the minis were the the big thing, right? So I bought one and then I quickly realized, what am I doing? I'm using this a few times a year. This is a terrible investment. And unless you're in a big rental market, you can, you know, uh put it with a like a rental house or whatever, uh, consign it. It makes no sense, is what I'm saying. For most people, unless you have the ability to make money from it and you're not using it, I think cameras are a rental thing. Um, but uh tell me if you know most people inherently at least go like I have to buy it. No, and and you don't, especially with these higher end cameras, yeah.

Josh Reimer 39:57

No, absolutely. Like if you want to be a first AC, if you want to work in the camera department and you want to learn all these things, and this goes for lighting too. If you want to work in lighting, you don't have to buy it. I mean, I don't I can't speak for other places, but in Orlando, we have rental houses, we have multiple rent camera rental houses, multiple GE rental houses. I mean first unit MBS on the GE side, camera, a camera, flow cam. Um, like these are places that you know, these the people that work there, they are very understanding of you know, people starting out and they want to help people, they do. And I know this because I I mean I worked at A Camera for over a year, and uh the owners are so nice, and everyone I worked with there is, you know, so nice and just like it's a great environment. They all want to help people. And if someone would call in, if we'd get a phone call, which would happen quite frequently, they'd be like, I just graduated, I'm you know, looking to get some experience with the gear. I'd love to get my hands on it. We would say, Absolutely, yeah, come in.

Vipul Bindra 40:59

Come on by, yeah.

2025 Camera Trends On Set

Josh Reimer 40:59

Come on by. We'll we'll help you set up the camera and we'll show you around and give you a tour of the place. And it was, you know, that's great. Like, that is a thing that you can do. That is a great way to get started.

Vipul Bindra 41:10

Yeah, especially on bigger projects. I've done that where if you're obviously it has to be a decent sized, you know, care uh rental house, but you can go and be like, hey, I'm testing some lenses, yeah. So I'm gonna rent you know this camera with you, but I want to test lenses, they'll let you, and most places have like focus charts or whatever. So uh right, it's you can show up, and especially if you're planning to already rent from them, they don't mind, and that can be easy because as a DP or as a producer director, whatever, I'm not gonna rent very expensive lens sets just to just for a test first, right? Yeah, because I don't know, so it's like very easy to show up, put lenses in, take some test shots, right there. You don't have to leave, you know, their testing area. Yeah, and then you could quickly be like, oh, this set aligns better, you rent it, good for them, because you know they're making their rental money, and good for me, because I didn't have to rent the other sets that we didn't end up renting. So that is actually it's good to build a relationship with your you know, common I guess rental houses where you are. Now, I do hear rental houses are struggling because again, market is just down in general, and less and less productions are uh and tell me if you've noticed this. I saw a huge shift two years ago, even though I know these FX3s and sixes have been out for like four or five years. Yeah, the shift I think kind of happened around that I would say two-year-ish mark, where everything just became FX six and FX3, especially not again the narrative market, but most of the industry um, you know, like that I was dealing with, at least, you know, I'm talking decent-sized commercials to lower. Um, and it was just like, you know, it just reduced the rental where we would normally even go for a rental camera because we there was nothing, you know, good enough that we could just buy where we were it was like, yeah, I can have two, three, four sitting in my my van or whatever, uh, where it didn't make sense to rent them, is what I'm saying. Uh so I don't know if that's when you work there or not. But what's your experience been? Do you feel like it's hurting them because the cheaper cameras are so much better?

Josh Reimer 43:05

I I think that there's definitely still a very large need for cinema quality rentals. Um, like the rental houses, A Cam, Flow Cam, those are the Orlando cinema rental houses. They rent high-end cinema quality gear. So Ari stuff, red stuff. They do have Sony stuff, they have the Venice and they have FX6s and FX3s. And um, I think there's still a very large need for those bigger cameras, those pricier rentals, but I do see what you're saying, and I have seen a significant slowdown in the rental of those, you know, more expensive higher end cameras. FX3s, FX6s are incredibly capable. I mean, I I own an FX3 myself, and I'd love it. I I love the way it looks, I love the way it feels, the functionality. Is amazing. It has shutter angle. I mean, it can shoot a movie.

Vipul Bindra 44:04

Oh, it has the big six menu. I don't know if you've tried that upgrade yet, right? Yeah. And and it's not even to me, like I said, there's even cheaper cameras that may look better than FX3, even. So it's not even about, and yes, that they look nice. I agree with you totally. But I'm saying there's even cheaper cameras that look better. It's just the you know how the industry works, right? Once something becomes the standard, they don't care. Oh, this black magic or uh this Panasonic or whatever is better, image quality is just like we want FX6, we want six, or we want three FX3s. You know, that's the type of at least requests I get, and I get a narrative is different. It's always been RE, even for me higher end, it's still RE. So I'm not saying RE cameras are going anywhere, but I'm saying these businesses have to be struggling because um, you know, it's not as high of a demand, I'm saying, than it was, right? No, the demand has decreased.

Josh Reimer 44:52

Yeah, there are just there are commercials that are being made for cheaper with less people with cheaper cameras and cheaper lenses. Yeah, and they still look great. Yeah, um, and that is just it that's just the the path that technology usually takes. It gets more accessible, it gets cheaper, and most of all, it gets better. And uh cameras are are no exception to this. Yeah, yeah. So cameras every year get cheaper, get better, get more accessible.

DJI Ronin 4D Strengths And Pain

Vipul Bindra 45:23

Exactly. And and you know, I showed you my lenses too. I uh if you remember the aisles that I showed you. Same thing. I mean, my opinion changed, and I can say I'm not even as hands-on as you are because I I don't work in a rental house. I mean, this kind of feels like a tiny one, but you know what I mean. But but uh, like for me, it was always like I get the the native glass, whatever brand, because you know, I'm again I change cameras, whatever the demand is. The only reason I'm a Sony, I've said this before, is because people are asking me for Sony. So, but but I'm thinking outside of native, I would never buy glass. And so I've had people ask, like, hey, what do you think about all these Chinese? And I used to always like be like, sure, if I need to rent one for a look, I would, but they're not there, you know. Yeah, but this year, yeah, they weren't. And now, when I bought these R's, I was just like, Holy crap, it's insane. They are actually good. Yeah, it is amazing, and and how cheap they were. Like I said, you couldn't buy, you know, one good cook lens for what I bought the whole set for. Yeah, right? I mean, even cheaper. So, so it's it's obviously again, they're not replacing. I don't think they're I showed you, I was like, they're not replacing signature primes or cooks or Zeiss or whatever anytime soon. But for what they are, you know, you can actually own it, and now again, you don't have to go rent something. And it's yeah, and and it's becoming accessible to like regular people. Exactly. Anyone can buy this set, and like I said, again, I get it. 10,000 for once, because you know that it comes in two sets, so 10 for each, so 20 for the whole 10 lens set. I get it, it's still a lot of money, but compared to a real legit industry standard lens set, that's nothing. That's cheaper than one lens, usually in those sets. So uh, like uh Ari announced those Enzos, and I was like so uh intrigued by them. Uh so I was like, oh, maybe this is the first Ari set I can acquire, and I'll look at the price, I was like, uh no. It was like 27 or 28, I think uh I mean or something like that, grand a lens, and I'm like, no, I can't justify you know using that enough. And like a second, I don't think our rental market is huge, it's it's decent, but it's not huge enough. Or like I'd be renting these ends out all the time. So I had to like calm myself down. No, yeah, let's just not not think about that. Let's let's let's lead a camera to maybe invest in a set and I can rent it if I ever needed it. But what do you think about them? I know we didn't mount it on a camera or anything. No, they're not. But have you had a chance to like uh I mean you did have a chance to at least feel it or whatever, yeah. Uh what's your opinion?

Josh Reimer 47:43

You know, it feels really high quality, and it's just the way it looks. I mean, clearly they've looked at like Supreme Primes, the signature primes, and they're like, this is the model. We gotta go off of this. This is what like people use, this is what people shoot the movies with. This is what we should make our lenses look like. And they look a lot like them. I mean, the mo the markings, you know, like just the focus markings, the iris markings, like it just opening too, right? Like dampening. It's so stupid.

Vipul Bindra 48:13

I still remember four years ago, the first time I ever heard of DZ, but I was like, I would never buy this because it was a kata, no, not kata, it was like Pictor or something. And I I genuinely, I was like, it felt like crunchy. I don't know the right way I can say I was like moving the you know, the the iris, and I was like, this doesn't feel good. Like, and then I looked at the image, I was like, this is like a vintage glass. I don't know, I I didn't get the hype, and then here I am, like literally going, Wow, yes, I I I one of the best investments I made this year, that's why we've talked about it so much in this podcast. It's like like the industry is changing, and then if these companies in four years or five years have come here from what they were making, yeah, and not saying again the pictures weren't good, I'm just saying that was their first go at it or whatever, right? Uh but it was no nowhere remotely close to where I would use it on a project. And like I said, I'm not even making a movie here. So for me to hear be like, oh wow, there's multiple times now where I am not going out, where I would have in the past rented a set of lenses for a decent sized project. That was just a given where I'm like, okay, I have a set. So we we bring these on. Uh so it's like reducing costs for me, I guess, in a way, right? So it is technically making me money. Yeah. Uh, and and I can also go charge my clients like, hey, we need a cinema set of lenses, whatever, whether it's built-in or additional, uh, you know, it's it's it's actually making me money. In the past, it was an expense. So, you know, industry is kind of, you know, I'm saying it's changing in big ways.

Josh Reimer 49:44

Yeah, DZO's doing great stuff, Lau is doing great stuff. Anisi too. I know.

Vipul Bindra 49:51

Yeah, so so it's it's crazy, and then this makes you wonder, you know, where we will be in 10 years, 20 years. Like, for example, for me, one of my favorite things is the alev, you know, the Alexa, the sensor. Yes. That that's in the mini and the mini alive. And I know uh I don't use the the 35 as much, but that that sensor is really nice too. Yeah, but but the thing is, sure, these cameras are inaccessible right now. They're even the used ones are like 30, 50, 60 grand, right? Um, but like give it five years, give it seven years. Not only use these cameras, but if an FX3, four years ago, five years ago when it launched, it's still used today. Yeah, what would a hypothetical, I don't know, FX4, FX5, whatever the the let's say two generations ahead of that is. I don't know, I don't know where the industry is going, but if it's gonna be better than that, the I know Ari will have obviously their their their version because uh of whatever they make. Yeah, um, but it's I I can't imagine these big brands surviving unless they do something crazy. Because I don't like I said, people will continue making movies because that's not going anywhere. Absolutely, but it's just things are becoming more accessible and it can only go, at least that's my opinion, it can go two ways. Either all the content becomes trash because everyone has these, you know, like everything just looks good, so it's like you don't have any appreciation for high quality art, or it's the other way around, you know, that it's so much trash out there that you know this is so much more now in demand because it's the you know, it's a skill that makes it good, not the the equipment, right?

Josh Reimer 51:21

Yeah, yeah, yeah. Um, yeah, I mean content. Oof, that's that's a buzzword. Uh, but yeah, no, content is just like to me, content is like the saturation of the video market, like it's becoming so saturated because from all angles people are making videos in all different forms on and you know, all over social media. Social media is huge, and so like good content is is just really being diluted, yeah. And it's just only gonna get further diluted um because cameras are only gonna get better, it's only gonna get more accessible, lenses too, and so people are gonna keep making videos. There will be a lot of trash out there, and I think at the end of the day, it's gonna come down to creativity and just like what it starts as the story, yeah, and uh to make something undeniable, something special is really what it comes down to at the end of the day.

Renting Gear Versus Owning Gear

Vipul Bindra 52:19

Yeah, exactly. I think that's what separates it because I have this happen a lot. So, you know, obviously I was really young in the 90s, so I didn't see some of the movies obviously because I was a kid. Yeah, but now sometimes we'll go back and see, oh, this was a big movie you gotta see, and I'll I'll I'll watch a movie. And I'll genuinely obviously be watching the movie, like you said, for the story, yeah, and it's an incredible movie. But then, you know, habit, force of habit, DP producer, you know, director. I'm just like, holy crap, that's like fully blown out. You know, this isn't lit. Well, you know, and I see movies and I'm like, holy crap, I could take my phone and shoot something better than that. So uh, but like you said, those movies are still watchable. I'm watching it, not because cinematography-wise or whatever, right? They're incredible, whatever. Uh, clearly, you know, we've come a long way, but the story makes it still watchable. Like you still go, I'm saying, consume art, not because it was shot on this camera or that. You consume it because the story still stands 20, 30, 40 years later, right? Absolutely.

Josh Reimer 53:18

You're not interested in going to see a movie because of what camera it's shot with. Exactly.

Vipul Bindra 53:23

Because but well, that happened with the creator, you know. That's the only reason I watched that movie. Everyone's like, you have to say, yeah, you know, you because you're it's the cameras you have at your home. And and I I was so hyped, and uh I was like, uh, okay. I mean, I don't want to sh the movie was good, but you know what I mean. Like, it wasn't the movie was okay. Yeah, it wasn't like uh it wasn't like you know, you know what I mean.

Josh Reimer 53:43

Yeah, absolutely. Um, yeah, it's it's such a you know, I don't know. I'm kind of I guess I'm kind of pivoting, but it's a unique perspective as a first AC because my I I live in a world surrounded by gear. My my job is to know the gear and the intricacies of it. So I am a gearhead and uh I focus very heavily on the equipment that I'm using. But uh like I said, I got into the film industry because I love movies. And so in the back of my mind, on every job, always I'm always just always thinking about the story. I'm thinking about the movie and I'm trying to understand it and understand what I'm shooting. I don't want to just be working on something that I don't get, like I don't want to be blindly pulling focus on this scene that I just don't understand.

Vipul Bindra 54:28

Yeah, you don't know what the focal point is. Obviously, they could tell you, but then you're I don't know. I feel like it'll be more natural if you know what the feeling is and everything. Yeah, absolutely. No, I totally agree with you. So talking all this, bringing full circle, would you suggest new people to get into the industry, like become first ACs?

Josh Reimer 54:44

It's such a cool job, honestly. And when, you know, when you're having a good day and the crew is the crew is you know working well together and all things are falling into place and the gear is behaving, it's a really wonderful feeling. So, yes, I would absolutely recommend it. Um, I I really like my job, and um, you know, I I think that uh working uh with the camera, you're like you're on the front lines, and it's really cool too. Like you this is the cool factor, yeah, exactly.

Vipul Bindra 55:12

You are making the movies, you know. And then the other part, and like you said, it is not one of those roles where you are 10 layers behind the process, you are in the process, you're with the with the pro with the device that's telling the story, and uh I think it's incredible, and especially um what I also like is for somebody wanting to get into it's in my opinion, a low investment career because yes, you need to know about all the cameras, it's not easy, like you already said, but you don't have to buy these cameras, you can go to rental houses or your school or your network or whatever. You just have to learn these cameras, you don't have to own the cameras. So, relatively um, you know, low investment. If anything, you're buying your own uh, you know, some accessories, obviously. Yeah, maybe a toolkit, maybe a focus polling device or whatever. But generally you can rent those two, right? What do you buy a Nucleus M or what what would you say uh investment-wise people need to buy?

Josh Reimer 56:09

Yeah, not not high. You're right. Um, and and especially like uh starting out, you really um uh you know, film industry and uh what you do, like running a production company, network. Network is everything. Yeah, um, and so if you build your network, uh, I feel like everything else comes. So if you build your network and you want to be a first AC, you are building your network with people who are better than you, people who do this, you want to you know, know other first ACs and especially people who own gear, because then starting out, you are not buying that gear. You can either borrow or rent from them. And that's really great. That's honestly, it helped me a ton when I started. Being able, I knew people who like had focus monitors, and I said, like, I'm doing this job, like um, can I rent this from you for this price, like this monitor? And I didn't own a monitor at first or like a rolling stand or um a fizz system. And so uh favors is really what it came from from the network. Um, and so building your network is so important. And then when you are starting, you know, when you're getting into the groove and you're starting to get jobs and people are starting to know your name, that's when you start moving up. And so um, what I bought, I mean, my the my main tools that I use all the time are yes, you want a kit with with um with like screwdrivers and and Allen keys, and you want like a technician's kit, just like if you were an electrician or you know, a you know, someone in construction, you want tools, these are the tools to do your job. But you have enough limo cable, absolutely extra cables, big thing, yeah, because they never have enough in the kit. So yeah, rods, you want extra rods, you want extra cables, so limo case, so power cables, uh different SDI cables, different configurations, you know, right angle, whatever. You know, just random.

Vipul Bindra 57:58

But I think this comes, uh, tell me from I don't think you can copy anyone because it comes from time, right? You learn you need something in your life. You learn what you need. So I gotta have this, and then you know, I think you slowly build this, right? Um, uh, like as you go, right? Because you figure out what you need and you add to it.

Josh Reimer 58:14

Absolutely. And then you get to a point where like you just always have something for the job, which is a great feeling. They're like, we need this specific cable, didn't come in the package. I have it in my kit. You know, I and organization is key. I organize all my cables, I organize all I had like extra screws, um, extra, you know, support arms for the monitors, uh, cleaning materials, like it's all organized.

Vipul Bindra 58:36

And chim tech wipes, chem tech wipes, of course.

Josh Reimer 58:39

Uh, and then the more expensive, the larger investments is going to be like a focus monitor, um, a fizz system. I use a nucleus. I use a nucleus because I think it is an incredible, incredible tool for the price, and also because if I have the M2, uh, have you seen that?

Vipul Bindra 58:54

That looks so great. Unbelievable. I was like, wow. I mean, I'm not even a First AC. And I was like, this is and I mean, again, we we don't buy as expensive, obviously, Fizz systems, but I have the um the nano two, and that's so incredible. I'm like, wow, I mean, that was only like 250 bucks. Yeah, it's just like crazy. Crazy what you can buy.

Josh Reimer 59:13

It's amazing. Another Chinese company that's just like knocking out of the park with these.

Vipul Bindra 59:21

So I don't know if it's come out by now, but I saw something from Tilta, same company that makes the M and the Nano. They're coming out with like an autofocus system. I saw that. And and and it's not what I thought it was. I thought, oh, is they're competing with DJI its LIDAR. But no, they're saying, and again, this is not out yet. So when we're recording this, but it's supposed to be those adapters you go from your PL to E, your PL to L, whatever. And it's supposed to be uh, you know, the the regular, what do you call it? Like um, the regular autofocus system, uh, you know, that the camera uses, and it somehow will use the nucleus M motor to then autofocus and uh it literally taps into the camera's data.

Josh Reimer 1:00:00

Yeah, exactly. It's amazing.

Vipul Bindra 1:00:02

And I'm like, I have no idea how obviously this is again not out yet, so we haven't tested it. But I was just like thinking about it. It's like, huh. And this is not LiDAR, so it won't have those issues that the DJI LIDAR has, because you know it has it can only go so far out, it can only go so far, you know, it has very uh it's not the thousand point, whatever, it's only like two points, so it's very limiting, I'm saying. So this may be a really cool product, and again, another Chinese company just killing it out. Yeah, and like I said, I resisted for a while buying, like I said, a focus tank because I had the original Nucleus M and you know, not M, the nano, and we didn't use it that much. Uh, but the nano to as soon as I opened it, I was like, holy this feels like a high-quality product, it does not feel like a $250 product, you know.

Josh Reimer 1:00:43

Yeah, I I love my Nucleus. You know, I it's honestly like one of the pieces of gear, and I I work with so you know, so many different pieces of gear, but it's one of those pieces of gear that just I never have problems with. It's amazing how seamless it is. Um, and so it's great. And then when I get on, you know, larger budget shows at that point, I don't really need to.

Vipul Bindra 1:01:03

You'd expect to have an Ari, right? Because that's the standard, I think, on larger productions. Yeah, that's what I've seen. Yeah, yeah. Again, I like I said, I'm not in your side yet, but I see what my focus bullet is using. So it's usually what? Like um, I've seen Ari, is what I'm saying.

Josh Reimer 1:01:18

The comic store or the high five, yeah. The high five is definitely like the highest.

Vipul Bindra 1:01:22

So those I'm guessing are rental things, right?

Josh Reimer 1:01:24

Because you're not probably gonna own that expensive system, yeah. Or the Preston. Uh the Preston is what I'm using on my show right now, which is uh the Preston is amazing. Uh, I love Preston. Uh, but yeah, so like when you get on these bigger shows, they'll rent you the better phys systems.

Vipul Bindra 1:01:38

Um, because you use the one, sorry, uh the one where you know it it's from Teradeck or Vitech, whatever, the company that owns all these companies, but where it integrates with the small HD monitor so you can see your marks.

Josh Reimer 1:01:49

That's actually Teradec system. Okay, yeah. Teradeck has a phys system. Uh Teradeck has an amazing system. Uh, I love their system. I've used it a few times. It does integrate with the small HD and you can see your focus marks on the side. It's like semi-transparent, it's really cool, it's a great tool. Um, yeah, so that's another like there's a lot of great players out there for sure. Um, but yeah, you know, so the nucleus is limiting, but it's not something that I would like, like you were saying, you don't need to buy this gear. Like if you get on a show, they'll rent it for you. And then like the nucleus is a is an $1,100 investment. Yeah, that's that's a small investment in the grand.

Vipul Bindra 1:02:24

Compared to yeah, if you get into this, I don't, and again, if you're starting out, these numbers may seem high, but when you're a professional, it's not. I mean, you go try to be a I don't know, uh go into lumber. I'm saying making house, I don't know, cutting wood or whatever, you know, like just uh a Milwaukee saw is like uh hundreds and hundreds of dollars. So I'm saying when you buy professional tools, they're expensive. So in our industry, eleven hundred dollars is actually very low. Yes, and how high quality the product is high quality. Uh and like you said, uh, I think that's the incredible perspective here that hey, this is a good tool, it'll handle all the jobs where you can be the the kit, you know, your kit fee. Yeah, but if it's bigger than that, then the production will just rent it for you. Exactly.

Josh Reimer 1:03:06

And then, you know, on bigger productions like that, you could, you know, then you also you could rent like a range finder or something like that, which makes your job easier. So um, you know, you you it's a low investment, it really is. And so you buy like a phys system, you buy a monitor. I started out with a small HD Indy7, uh, which again, if you're starting out, it seems expensive. It was $1,100. Um, but to me, that was a small investment, and it just made my life easier. I knew I was using something that would not go down. I mean, small sometimes they do, but small HD has really represented.

Vipul Bindra 1:03:38

I have a bunch of C7s and they're incredible. Other than them getting really hot, they have never once turned off. That's what I am amazed by. See, this is the opposite of buying high-quality gear. Sometimes they're so hot, I'm like, like I think they would explode. But we're out in Florida heating it's hot. And I'm saying things that don't have how many times I've had gimbals or other things literally say overheating, like turning off. Never had a small HD morning, no matter how hot it is, they're never turn off. Yeah, they may have cranked up, you know, on the highest you know, brightness on outside or whatever. Yeah. So and and that's the uh the other thing I tell people like buy what's the industry standard. If you buy a Nucleus M or M2 now or whatever the the current gen is, and then you buy a small HD, you you belong. You know, you know, it's also not like not nothing stops you from buying something different, but then the issue also is that you show up on set, then it's like you know, you you don't fit, nobody understands the gear, you have somebody else working with you, or like you said, in another cam department. I don't know, it's just you don't fit. So buying right ones, especially cheaper compared to again, most departments to get into. Um, I think uh it's it's good to buy the right one time because then you have to keep buying it, yeah.

Josh Reimer 1:04:50

But especially as an AC, because the job is very fast-paced, and like I said, cameras always expected to be ready first. You really don't want your gear to hold you up. Yeah, so think about it like this you know, how much money is it gonna cost you to bring a lower quality monitor on set? Say that monitor fails, and then you can't see the image. And if you're not a pro with decades of experience, you can't pull by eye. And so that monitor fails, and then you lose that job, or at least they don't call you back again. You lost that avenue of revenue and all the network that you built there.

Rates And Kit Fees Explained

Vipul Bindra 1:05:31

Exactly, which is way bigger loss than the the one job, right? Exactly. So uh let's let's take this next level. Obviously, uh if somebody is interested, seems like you know, they want to do this, they love the the camera, they they the investment is low, so perfect thing to get into. Um obviously we'll we'll get to networking, which I think is the most important thing, but like what can they expect to make? What is and I get it different size of projects, obviously union, non union, but just so people have an idea.

Josh Reimer 1:05:59

Sure. Um You know, it it's uh it's very wide range, it's a spectrum, but it's uh you can make a lot of money as a first AC. And there are career ACs in Orlando who work all the time and they make a really good living. Um, and so it it it definitely depends on the project. But let's see. So, you know, if you're working on an indie film, um it, you know, indie and it it has a distribution plan, even if it doesn't have a distribution plan, say it's like going to Hallmark, Lifetime, even Netflix, movies like that you can expect to make anywhere from two as low as 250 base rate to as high as I'd say 500. Okay. Um, and then you'd add a kit fee on top of that, right? Then you add a kit fee for your equipment, which helps.

Vipul Bindra 1:06:41

Which would be what? Like for some obviously you would have a much lower kit on that rate. So, what would you say a kit fee would be a couple hundred bucks? Or sure, yeah.

Josh Reimer 1:06:49

Start out, you know. Um, I always gauge it uh based on the client. And if I know, I I always like if I know that this is a larger production, then I will tend to charge on the higher side because that is what my gear is worth. I'm not overcharging them, I'm trying to charge closer to the rate. Yeah, so um you know it depends on what gear you have. I personally run with a small HD 703 Ultra Bright. Uh, I run with a seven-inch monitor instead of a 13-inch because I love to be portable and I'm fine pulling on seven inches. Um, and so for that, I would charge usually 100 to 150 uh for that monitor, um, which is uh actually less than you would rent at a rental house here in Orlando. Um, and then you know, my phys system is a nucleus. It's a you know, it's cheaper, it's a cheaper product. It's on the lower end of Fizz systems for something like that, $75 a day. And so, but that extra money really helps. It's really nice.

Vipul Bindra 1:07:46

Especially on a lower job where you're paying being paid $250 a day, you know, that that $200 extra can you know bring you closer to that uh, you know, $400, $450 a day, which is good. And then on the higher side, that can get get you to that $750, $800 days, right? Absolutely, which is pretty good. And then let's go to the higher side. Uh, what would be that range?

Josh Reimer 1:08:07

So, yeah, on commercials, commercials are always gonna pay more than these indie movies. And again, I say indie movies, we're not talking about studio movies. That's not something I've dipped my toes into. Yeah, and we're not.

Vipul Bindra 1:08:16

Yeah, this is too high in if you're watching.

Josh Reimer 1:08:19

But yes, um, commercials. So commercials as an AC, typical rate, what I charge would be $7.50 a day. So $750 is pretty standard for first ACs uh in Orlando, at least. Um, and so then on top of that, you would add your kit fee. Uh, some commercials will pay more. A lot of times it's a given rate. This is what they give you. Uh, it can be negotiated, um, but this is what they're offering. Sometimes they'll ask me to name my rate, and like I said, $750 is my normal rate. But sometimes it's a given rate and it could be more than $750. Sometimes it's $800. Yeah. Sometimes it's $900. So it it really could pay very well, and it's for one day. And then, you know, on top of that, you add your kit fee. And as a first AC, you could be walking out of a single day with over a grand. And some of these career ACs here in Orlando, they bring their uh, you know, their Ari High 5, they bring their 13-inch, they bring their carts, multiple carts, van, they bring a lot of gear to the job. They're walking out of here with more than 1,500. Yeah.

Vipul Bindra 1:09:19

And um and that's what the the value of the gear is, right?

Josh Reimer 1:09:22

Because you know you can keep bumping up the rate. Yeah. Absolutely. But a base rate as a first AC on a commercial that is $750, $800. Usually commercials are eight to ten hours. You can make a great living and you're not killing yourself.

How To Build A Film Network

Vipul Bindra 1:09:38

Yeah, exactly. And and that's pretty good living, you know, uh, especially uh, you know, in this field where a starving artist is a real thing. Um, and like I said, you're actually on cool sets doing cool things. So I think that's that's pretty good. Like I said, I like the career. I think what you're doing is incredibly important on set. I'm thinking for first AC and you know, you in general, but then also the investment is low comparatively. Uh I always have to say that because I I get it. Still high, but you know, comparatively low. And uh I think what comes down to is just networking, right? You have they have to know you to bring you on set. Because this is the biggest thing. Let's say you're at Jamara, you're like, okay, parents, I'm not going to school. I'm gonna save the money, right? I'll learn the skills. You buy the nucleus and you buy your monitor, you buy all the the accessories or whatever, right? You're all set. The thing is, the jobs aren't coming because if they don't know you're out there, right? Yeah, and what you can do and all that, then it doesn't matter. The the gear is just completely off the thing. So I think to me, and that's similar in I think any any field in in video production, they have to first even consider you. Forget getting the job, and they cannot consider you if they don't know you. So, what would you suggest to someone like how do you go out and build that network, which is the the critical thing, right? You would you would agree?

Josh Reimer 1:10:57

Network is everything, yeah. Yeah, I mean your network is is your whole world, and so how I did it, because I really started, I I started as a first AC, and I didn't take that typical ladder moving up as a PA, maybe a utility, second AC up to first AC. Of course, I've second AC'd I've second AC'd a lot, but mostly, most of my credits are first AC. I jumped into it, I told people I was a first AC, and I kind of found myself along the way. And not to say there is a fine line. There's a fine line between going on set completely inexperienced. You don't want to do that, you could damage something. Um, but also going on set kind like you're like, I don't feel totally confident, and I'm gonna, you know, I but I feel confident enough to take this on. There's a fine line there. But um, how I started, so join Facebook groups. Facebook groups are big. There's a lot of film Facebook groups here, and these companies, they they do post job ads in these Facebook groups looking for an AC on this date at this location. They're not usually the highest paying jobs, sometimes they are, but they're work, and that's a great way to get started and build your network. And um, if you go to film school, if you have the money to go to film school and you go to a school like Valencia, Valencia puts you on set. Valencia will talk to, you know, there will be a production shooting in the area. This is what they say. They're like, we're gonna give you our gear to use. And the deal is we give you our gear and you take on some of our students in these roles, these specific roles. And then you actually get to work on real sets with real professionals at Valencia. That's another, that's an amazing way to build your network. That is, if you have money to go to film school. But if not, joining Facebook groups, going to local filmmaker like meetups, um, just going to local rental houses, traversing rental houses, going there, buying them coffee, using the gear, establishing a connection with the people there, rental houses, and I again I know this from experience, they keep lists of people in different roles. If you go in and you you build a relationship with that rental house, you build a relationship with the owners, they're gonna put you on that list. You're now somebody that they could recommend. You may not be at the top of the list, but you're on the list.

Vipul Bindra 1:13:03

Yeah, exactly. Yeah, and you never know. The thing is, when you're head home, nobody's calling you, nobody's putting you in a list, nobody finds out about you. So my suggestion is, and and that's so crazy because I'm so like forward thinking about technology and everything, but in this way, I'm like, go back old school, you need to be on your feet. You know, this is in my opinion, and not that you couldn't do networking online, I'm saying you should, like you said, Facebook groups and stuff, but in an ideal world, you know, use your feet. Like if you're not walking or you know, driving there, then you're not, I don't think you're starting, especially if you're new. I'm saying you have no jobs. I like you said, go to your rental house, show them your face, make take them to actual coffee, let the because it's not the same thing, you know. When when I get emails and I'm not uh you know, saying that that's not the right voodoo, but I get decent emails where it's like, hey, I would love to meet you or whatever. It's like thank you, you know, maybe, but like I don't know your personality, or can you hire me or whatever? It's like I have no idea who you are. You know what I mean? That resume does not help me. I don't care about resume, I want your personality, and that only I can gauge if I meet them in real life. And so you have to get yourself out there. You have to say hi, you have to buy them coffee, or or just you know, uh, like you said, go to the rental house, test out the gear, build that relationship. And those are so easy things. Um, low investment, more time, but but I think it's right. I I don't know. I think it's critical to get your feet, get yourself moving, go out there, uh just start something. You know, you never 100% agree.

Josh Reimer 1:14:36

Um, absolutely. And and you know, like you really can start in this role uh from nothing. You don't need to go to film school. I think film school really helps them a big advocate because it gives you a great base of knowledge and you get to know people, like even your classmates. Your classmates are your next one.

Vipul Bindra 1:14:50

Yeah, they'll call you so they know especially if you're in school and you're telling from day one I am a first AC. You know, that that's a thing. It it can also get you pigeonholed. Somebody like me, like I run a production company, right? I'm a director, producer, DP first. Yes, I I'm decent at gaffing and sound and stuff. So what happens is I've noticed that, you know, and and it I do the same thing. If you hire someone and you know, let's say they hire you as uh the gaffer, yeah, then in their eyes you're always a gaffer. So you can get pigeonholed. But in in in specializing, that's an advantage. So for like I said, for me, it'd be it would be hurtful because I'm like, no, I'm normally a director, right? I don't want to get pigeonholed into that small role. But for somebody who's like you, who's like, no, I'm a first AC, getting pigeonholed is the perfect thing because now they associate the word first AC with you. And if anyone, whether they need it or let's say they're out on another production, they go out, they want to be a gaffer or DP or whatever, yeah, and the production now needs a first AC, guess who they're thinking of? Immediately they're like, Josh, right? Because you are from day one, we're like, no, I'm the first AC, I'm the first AC. So I think that's actually can be very beneficial if you start to like from day one, just tell everyone who you are, and and and then they will never forget you, right?

Josh Reimer 1:16:05

I completely agree. And actually, I'm really glad you brought that up. Being pigeonholed is is is a big problem. And and us, you know, this is advice that I would give anybody starting out set your intentions, learn about the roles on set, learn about what each role is responsible for, what they do, and what interests you, and choose one.

Vipul Bindra 1:16:23

Yeah.

Josh Reimer 1:16:25

And choose a department. Because if you choose multiple, if you're a jack of all trades, you're not gonna get hired, or at least you're not gonna get hired where you want to because they don't know what you do. Exactly. And then if you want to be someone like a first AC and you take the tradition the traditional route, which is fine, start as a PA, move up, that's totally fine. Don't stay as a PA. Be a good PA, but you you need to walk this line because if you're a really good PA and you keep PA ing over and over again and you PA for years, there's nothing wrong with PA. They're the lifeblood of the production. But if you don't want to be a PA and you keep PA and you're a really good PA and you're like getting known in the network as a PA, you're now a production assistant.

Vipul Bindra 1:17:08

That is their role, yeah.

Josh Reimer 1:17:09

Yeah, and why would they call some why would they call you as anything else, right?

Vipul Bindra 1:17:15

Yeah, because you're a great PA. Initiative is is a big thing, and I think I found my experience working with people who are green is that there's two types of people. One who are who take initiative, they'll tell you, but like, yeah, I I love doing this, that, or whatever. So you hear it, you connect, you know. You know, like it's very important to take initiative. But but then there's people who will come, they will do the role great, so they get a PA, they'd be a swing or whatever, and they'll not once tell me, like, yeah, I did this because I want to connect with you, but I'm actually a camera operator or I'm whatever. I have no idea. I've had this happen where I hired a sound guy, and he was just like, you know, I a year later I find out, you know, he's not a sound guy because he's like, Yeah, I'm good at it, so I did it, but I'm actually this. And I was like, really? And so it took me, and then he it took me an effort too, like, oh, I gotta now start thinking about this guy for camera jobs because that my brain isn't clicking, right? My brain's now stuck for a year. I've known this guy as the sound guy. So, like from day one, I was to take initiative, even if you're not in the role, ideal role that you want to be in, you want the people to know. Obviously, I wouldn't say like annoy them, but it's one thing to like you know, politely be like, Oh yeah, absolutely. Especially I do this. So if you ever need this specific role, that's my expertise. I would love to also help you. And that immediately you connect. Oh, awesome. And then, you know, once they bring you back on, let's say probably second time, another PA role, and now you tell them again, you know, it starts to slowly connect. So there is a way to to not pigeonhole yourself, but that I think is entirely on initiative. And if you are the type of personality that you are not gonna take initiative, I'm saying that yeah, that that's gonna hurt you, I think, right?

Josh Reimer 1:18:56

I agree, yeah. No, absolutely. Um, and so it's just like about knowing what you want, what you want to do. And um, that is something that could be learned in film school. That could just be something that could that you could learn that from YouTube Academy. I mean, YouTube is such an amazing resource these days, but learn about what you want to do and work towards that. And it's okay PA ing, it's totally fine. Just every time you PA, let them know, let them know what you actually do. If you want to be in camera, spend time near the camera department. Get to know the people in camera department. Yeah, that's what you want to move towards. Tell them that IAC a lot as well. And even if they don't believe you, even if they don't trust you as a first AC, because it takes a lot of trust to be a first AC. That's a big thing. But even if they don't trust you as a first AC, the next production, they'll probably put you on as a camera PA, not just a set PA, a camera PA. And then you work your way up from there.

Vipul Bindra 1:19:49

Yeah.

Josh Reimer 1:19:50

Um, and so as a first AC, um, you know, like I started out telling everybody I'm a first AC. Like this is this is what I do, like I'm a focus puller. And then when I would tell people that, uh sometimes they would hire me as a first AC. And then sometimes they would say, Okay, uh, well, we have this gig coming up. Could you second for us? And I love second AC. So absolutely, that's one step below first ACing. And then on the next shoot, and this has happened, I'm speaking from experience. On the next shoot after that, they would hire me as a first AC.

First AC Versus Second AC Roles

Vipul Bindra 1:20:21

Exactly. It's great because they knew what you are, you're just changing your role. That's okay. Uh, and I think that's the right way, the how you approached it. Like, hey, this is what I do, but I'm happy to jump into second, especially if you're a first AC, it should be easy to do. Second, because you know, you're technically working together, right? So tell people like what's the difference between a first AC and a second AC.

Josh Reimer 1:20:42

Okay, so yeah, um, you know, they work very closely together and and uh hopefully completely hand in hand, and you should have good relationship with your second. A lot of first ACs have a second that they use all the time. I have a second that I use all the time. And so um the first AC is the key. They lead the camera department. They are pull the focus, they pull the focus, they're responsible for the organization, the workflow. They're like, this is where batteries go, this is where lenses go. Uh, this cart's gonna be for batteries, this cart's gonna be for lenses. They create the workflow in the camera department, and um they are you know responsible for working hand in hand with the DP. So is the second, but not as much as the first. The DP is gonna call on the first. We want to switch from the 35 to the 50. They're gonna call on the first for that, not for the second. And the second AC is an assistant to the first AC. They work in the camera department, they work under the first to help with all of that. So if the first AC is building the camera, he's like, uh, actually, can you go ahead and and take care of the wireless? Can you sync this up to this, this, and this monitor? Like that's you know, that's something that they would do. Like they work under the direction of the first. Not that it's a complete, you know, dictatorship. It's definitely a partnership, but it's a hierarchy. And so the second AC is the assistant that works under the first. They work hand in hand. And of course, big role of the second AC is slating. So slating on bigger sets is uh very important on smaller sets, sometimes not so much, but slating is uh essential, is you're communicating information to the editor, you're syncing up the sound in the video. Slating is essential. And so the second AC is responsible for working with the script supervisor to determine what scene are we shooting, uh, and how are we gonna letter this, how are we gonna name this? They keep track of the shot, they're gonna keep detailed logs, sometimes even more detailed log if it's a VFX shot, the height of the camera, the angle of the camera. So they're responsible for keeping notes, they're responsible for slating the shot. And uh most of all, they are a camera technician, just like the first AC.

Vipul Bindra 1:22:40

You're just working hand in hand, you know. Yeah, working hand in hand. It's a part like you say, you pick up the lens, you hand the lens. How many people does it take to put on a lens, right? Um, I'm just joking. No, uh, second ACs are very important. And yeah, um, what's what's crazy always been to me same thing, less investment than even first AC because you're not usually pulling focus. Uh, I mean, you can be, but normally not. And then also, um, you know, the your tools are even provided. Technically, the slate is provided by the sound department, even though the camera department is running it. Yeah, so again, very less investment. Build a relationship with the first AC. I think it's a really good role.

Josh Reimer 1:23:16

And I I love second AC. Um, and and you know, there's other aspects to it also. Like as a second AC, you're you are um the liaison uh between camera department and post-production as well, which is very important. Um, and sometimes on bigger sets, you know, you're gonna have a loader, you're gonna have VTR, you're gonna have a digital utility. Um, but like on on smaller sets, it's like the second AC is working hand in hand with the DIT and making sure that the media gets from the camera to the DIT. That is their job, that is their responsibility. Um, and so the second AC is also in charge of media, which is huge because that's that's the movie.

Vipul Bindra 1:23:53

Exactly. Especially I'm always amazed by like my biggest thing is I've seen enough on other people's sets. This hasn't happened on my side, never lost footage, but I've seen um, you know, footage get lost. So I've always been like, uh, you know, I record simultaneously and and you know, on two cards and make sure only one card leaves to go to DIT. But what's crazy is a lot of these when it annoys me, is the highest the project, the more we're renting, like uh Venice or whatever, or R. Why do these expensive cameras only have one slot? So you only have one card, yeah, and it better not get lost or damaged. So I always get scared, either I'm DP or even as a director, and maybe that's just because I'm I'm more technical-minded, so I'm thinking about the gear. Like, you know, if that card gets lost, if something happens, we have no backup, and that that's where all the money went. So it's a very critical role, yeah. It's crazy.

Josh Reimer 1:24:48

Yeah, the second AC, I mean, they they they are responsible for the media. So when my second AC hands me a card to put in the camera, that card better be ready to format, you know.

Vipul Bindra 1:24:57

And I have been on sets where that wasn't the case. So footage was lost again, not my set. I was doing whatever role, but I've seen that happen, and trust me, when a production loses, like I said, I I I don't allow that on my production, but yeah, I'm very careful. But even then, like I can't be hundred percent, never has happened yet. But I've seen that on have other productions, yeah, which is why I'm like so extra careful because I'm like, we cannot, this costs a lot of money. Oh, yeah, we cannot lose that footage, so it's a very critical role. It's an important role, and yeah, you better make sure that that card makes it safely. It may only be 10 feet, but you it better you know make it, you know.

Josh Reimer 1:25:32

Yeah, yeah. And uh, you know, just like I always just truly believe that the second AC is just as as important as the first AC. You just have different responsibilities. Um, and uh you tech you're not the key, you know. You work in the camera department instead of leading the camera department, but you're you're just as important. I would want my second to be able to step in and do my job at any time, which he could. Yeah, you can the second get paid about the same, or is it that they get late paid low less just because the second? So it's a less it's a yeah, so you get paid slightly less as a second AC. It's not a huge discrepancy, but it yeah, yeah, it is definitely uh a lower rate um because you're lower down on that ladder. Uh you're not a key, but it is uh you can still make a lot of money as uh being a career second. There are a lot of career second ACs in Orlando who make a great live.

Vipul Bindra 1:26:17

Yeah, especially if you move it to um you know bigger productions. Um I I don't know, it's generally both these roles are below the line, right? So they must have union rates if you were to do a union project, right? Yeah. I'm not knowledgeable in that, but so I'm saying, you know, if you end up on decent sized production, especially union productions, you don't have to now have that issue where they're you know uh lowering or you know, making you work at less money, you can get union rates, which are pretty decent. Yes, yeah, yeah. It's just making that network and get it rising up. So there's nothing wrong with being a second, you know, career second or career first or whatever.

Union Protection And Set Rules

Josh Reimer 1:26:52

And and you could join local 600 as a second AC, which is cheaper than joining as a first AC, and you could still work first AC roles. Exactly. Um, and uh it's you know good tip, by the way. Yeah, absolutely. Um, yeah, local 600 is definitely the goal if you want to make a career out of being uh an AC out of being in camera department. Local 600 is expensive, that's how they weed people out, and you need a lot of hours for it, but it's uh it's a great title to have, like it's you know, Josh Reimer, local 600. I'm not local 600, but you know, it's a great thing to add. Is that something you'd like to?

Vipul Bindra 1:27:27

Absolutely, because you that is your goal, right? You're moving up in the field, or at least that's the for you.

Josh Reimer 1:27:31

God knows I have the hours, but yeah, I have the money. Yeah, yeah.

Vipul Bindra 1:27:34

But no, they charge, I mean, that's all union stuff. Like, I stay away from it. I have done union stuff, but typically I try like to do my own thing, right? So I'm non union and I enjoy that, but that's because I'm above the line. So I I have my reasons, you know. But like I'm saying, as a if I was in a specific role, I would definitely be looking forward to joining a union because you know, the hardest thing uh in this industry, and tell me your perspective on it, is A networking. But when you do, so many people are out there to take advantage of you. So the advantage of union productions is uh to me, indie films is a wild, wild west of filmmaking. And I've heard horror stories after horror stories I've experienced at horror stories. And we can talk about some after, but uh but exactly. So I'm like the advantage of going on a bigger production on a union set, you have defined rates, you have defined hours, defined breaks, nobody's taking advantage of you. You know what I mean? Like I mean, I still could, but generally speaking, um, I feel like it's a safer, better work environment, and and and plus you're in cool projects, you know, they have to be big productions. So uh yes, it's expensive, but that should be a long-term goal for him saying if somebody wants to be specific role, you know, in the industry and make a career out of it.

Josh Reimer 1:28:50

Absolutely. Um, the union is there to protect you. Uh, freelance could be dangerous, freelance is uh, you know, is dangerous. And so you need that defined set of rules and regulations to uh protect the livelihood and the health of your workers. Unions are there to protect you. And so um working on non-union projects, it's a wild card. Sometimes sometimes it can be dangerous, and sometimes they are out there to take advantage of you. I've been taken advantage of. Um, you know, uh, but also a lot of times, uh, you know, if you are work, especially if you're working on larger non-union sets, they will be sticklers and they will stick to union rules because they don't want to get flipped. Yeah. Um, yeah, so the union is out there to protect uh their members, but they're also out there to protect non-members. And I want to make this clear to anybody working in film if you're working on a non-union set and there are violations and they're not treating you like they should be, you can report that to the union anonymously. You can report those conditions, and the union is out there to protect you, even if you're not a member. And so, um, you know, I'm working on a larger narrative right here in Orlando, and the union is aware of us. Yeah, we're on the map with them. It's a non-union project, they're aware of us, and that production follows the rules to a T. And I believe. Yeah, because they don't want to be slipped. Exactly. Yes.

Vipul Bindra 1:30:19

But here's the other side, and I don't want to say it's always um, you know, there's there's obviously um what I'm saying, there's a thing where they're doing it intentionally, and there's an unintentional. So in my world, it happens unintentionally. So a lot of times I'll be doing a bigger shoot or whatever with a client and their company. Because I I a lot of times, obviously, yes, we do work with agencies, easy to they they understand how this works, but you work directly with companies, they have no idea they're supposed to feed us, they're giving give it lunch, and then you know, as a director, producer, whatever, I know this. So when you do this long enough, I already count for food. As in, like, yes, they're supposed to buy us lunch, but there's a high likelihood they have no idea and they won't. So I have enough money in the budget that I will be buying people food, but it's hilarious. Yeah, we'll be going and we have a 12-hour day or a 10-hour day, and you know, in the midpoint, the clients just keep going. It's like, no, hold on, we need to order food. Yeah, and I've done that. It's like, okay, I'm for ordering food now. What do you want? So it's like, but we have to, and that's not, I don't think, intentional, right? They have no idea. They just don't they don't understand because you know, we're not in their employees, we're just a contractor, whatever, or vendor that they hired. So they have no idea they're supposed to feed us, give us breaks, all of that. So, as at least on my side, when I am it's my production, I make sure, and and it may not be in a rude way, I may not just like that way. Hey, I'm by the way, I'm ordering food. Do you would you like something? And I'm okay if obviously I'm I'm happy to buy them food. They're paying me to be there. Yeah, but you know what I mean? And sometimes you have to do that. But I have been where I am now helping somebody else's productions where they just don't give a crap, where they're like, hey, stand there. All right, uh, you know, and then now we continue 10 hours later. I'm like, hey, uh, you know, I mean, I'm not like you know, crazy, but I would like some break or whatever. So, you know, you have to, and that's where you go. Yeah. Um, you know, you have to nudge, uh, you know, it may not be like it's intentional where somebody just goes, goes, goes. And, you know, it's okay, I'm just saying, to uh, you know, tell them to because sometimes, like I say, it may not be intentional, is what I'm saying. Yeah, because they're not used to working with video people. Yeah, absolutely.

Josh Reimer 1:32:18

Yeah, it's uh what we do is is is very niche, and it's um there are a defined set of rules that a lot of people don't understand if they're not in it, and and that's fine. There is, I I totally believe that like before you report a set to the union, you should definitely like talk to your higher-ups, talk to the producers, talk to production. At that point, if they're not willing to budge, it's intentional.

Best Days And Worst Days On Set

Vipul Bindra 1:32:38

Yeah, exactly. Because you know, if you just say, hey, uh, when are we taking lunch or when you're taking a break, it may just remind them, uh, or it may remind literally, like I said, the client who has no idea that's a thing, even though you know it should be common sense, but it's not common. But what I'm saying is, yes, you're right. Like initially, an a little nudge or a question can steer it usually in the right direction. And I've had that happen. So I worked with a local agency just to give you a real-world example. Yeah, and you know, I don't complain, especially I don't like to eat anyway nowadays on set just because you know, uh unhealthy donuts and I can only eat so much unhealthy food. But the point is, we went all day, and to be real, I didn't notice, but then I was like, you know what? If I come back again, they're gonna do the same thing. So at the end I was like, oh, thank you for the product. By the way, we didn't take a lunch, and you know, he was like, Oh, you know, you're right. Here's an extra 50 bucks or whatever, which I didn't do it for money, right? Because again, I I'm generally charging more than 50 bucks, so I was fine. But at the end, which I said no, thank you, by the way, I didn't take this 50 bucks, but that ever since then I worked with them at least five, ten more times, always at lunch. It's sometimes it's just that. Like, even if you forget, and I was okay with that, smaller set, you know, smaller thing, but I had to kind of like educate them like, hey, a break would have been nice. Yeah, so you know, and and then like I said, it's been normal ever since I've never had to bring it up or whatever. Whether I eat or not, there should be some kind of break, you know, especially on a long 10-hour day or whatever. Absolutely. So and and so coming back, I think yes, you need to sometimes nudge them, but obviously, if that's not working, then follow, follow, yeah, follow the other. Yeah, exactly. That's what you go. Uh but talk about I know we're running out of time, so talk about some of the fun stories from set, I guess. Horrible would be nice, but good ones would be nice. I don't know. Oh my god. What's the most memorable stuff?

Josh Reimer 1:34:28

Oh my god. Uh, you know, honestly, the most memorable stuff is is when uh it's working as it should be. When everything, when everything falls into place, when the like the actors are killing, you know, the just the the the shots look amazing and the gears behaving on my end. Um, but you know, making movies is a grind, and sometimes it's really terrible and everything goes wrong. Um, and then some days it's really wonderful. Uh, you know, I've never I've never felt so dead than I have in in the in this job, and I've never felt so alive. Like it's you know, it's crazy. Um, but uh yeah, honestly, my best memories are just from like the projects that have been the most memorable. Like I did this movie um with a frequent collaborator of mine, um, a director that I usually work with. Uh, and uh we did this movie um that was premiered on Lifetime. It's a smaller indie movie for lifetime under a million dollar budget. Uh and uh it was, I just like the story was really riveting, and the actors like the it was so well casted, and so the actors were just like they were so in the zone. Oh my god. And uh, I mean, it just looked beautiful. We had a great location, and the DP was so talented, and it's just like all of those factors, and I was pulling focus behind the monitor, I was like tearing up at the performances. That's an amazing moment for me.

Vipul Bindra 1:35:58

That's a great part of my job because you're zoned in and you're enjoying what you're doing. I'm literally just working, yeah.

Josh Reimer 1:36:05

That's perfect. At that point, you realize that you're making movies and it's a great feeling, and you're making good movies like that. Turn out really good. Um, and uh yeah, I can't believe that it went to lifetime, but you know, it's uh it was actually a really good project.

Vipul Bindra 1:36:21

It's called um, it's called uh I'm your biggest fan. If work means it goes to a lifetime or Hallmark or whatever, it is life. I mean, I'd rather make a project that goes there than nowhere, you know what I mean. So uh, but talk about uh the worst stuff, you know. Do you have any crazy experiences? You don't have to obviously name somebody, but sure, yeah.

Josh Reimer 1:36:40

Um, you know, I've just been on a lot of sets where they do a lot of sketchy things and they want to get this done and they're gonna do it by any means necessary. Um let's see. Yeah, I gotta kind of be careful about what I talk about here. Uh, I did this commercial once where they hired me on as a second AC and media manager, which isn't super uncommon. Um, sometimes I'll be hired as both because they work hand in hand. Uh, I am versed in media managing, not a DIT. There is a difference, guys. Um, but I I can media manage. And um, so I was hired on as a second AC and media manager. We had three main cameras in ABC. We had two GoPros and two Insta360s. We had a colossal amount of cameras. Yeah, this was an insanely fast-paced show. We were shooting so much every day. The days were 14 to 15 hours. That was before I was dumping media. I was so backed up. I was splitting my time between second EC, running to the computer, and media managing. They were getting upset that I was leaving set to go media manage. Yeah. And they were upset that they that someone else had to take over the slate. Every time I had to fix something with the camera, the producers were standing over us, breathing down our necks every time I had to work on anything with the cameras. It was uh one of the most stressful jobs I've ever been on. It caused multiple panic attacks for me.

Vipul Bindra 1:38:09

Yeah, because that one easily, like based on just you telling me, I'm like, they should have had a separate person managing me, yeah, not you. We had that's a lot of cameras to be, you know, already just managing, but then also, like you said, I mean we had seven cameras.

Josh Reimer 1:38:22

So that's a lot obscene. Um, and uh that come that you know, along with the just insane schedule, it was an insane schedule. Um, and so such a fast-paced schedule, seven cameras, expectations for me to do two jobs at the same time. I'm only one person at the end of the day, I'm only one person. And they were getting upset when I was leaving to do the other job. This this uh company ended up hiring me back, and I I I do enjoy working with them. And I honestly I think it was the nature of that client, I think it was the nature of that specific project and the constraints, but it was still an extremely hostile work environment for me. And you still worked with them again? I did, yeah. I did. I um no, I did. I I asked, I when I worked with them again, I said, How many cameras are there? And they're like, there's there's one, you're fine. Um I'm like, okay, I could do that for one camera. Um, but yeah, uh it was it was a it was one of the worst experiences of my entire career.

Vipul Bindra 1:39:24

Um yeah, I can imagine. That's a lot of cameras to just manage by yourself. I'm saying, just as a media manager, talk about you know, like doing a second AC job on top of that. So that's crazy, but that happens. Uh and and you know, I'll talk about opposites, and it's so funny. I have friends, you know, obviously we do corporate commercial work, they send me a photo, they're on a laptop with like a hard drive and a SD card reader, and they're like, DIT today. I'm like, that's not DIT, you're just copying some. You know, but that's the funny thing with small sense, they have no idea what any of the roles are what it means.

Josh Reimer 1:39:59

Once you see what a DIT does, you'll be like, oh my god, that is that is so specialized. That's insane. How do they do that? Um, yeah, DIT is a very specialized role, and the best DITs, they are invaluable, invaluable.

Vipul Bindra 1:40:11

Yeah, but around here, again, not that many productions happening where people experience that, so I get it. So to them, D ID is just yeah, you know, just copying some footage.

Josh Reimer 1:40:20

Exactly. And yeah, it's so not, you know, like we have uh the set I'm working on right now. We have a wonderful DIT. Kyle's great. Um, and uh, you know, like we had one day the the DP he he noticed that one can were using two Alexa minis and one camera had a slight discrepancy, like the green tint is it's like it's slightly greener than the other camera. And uh there's no known reason for it, honestly. It just came down to the age of the camera, the specific, like the discrepancies between the sensors when it was assembled in the factory. Like that's what it came down to. All the settings were the same, it's the same exact camera. And so he goes to the DIT, and the DIT literally, like we shoot a color chart and he puts the images next to each other and he creates a custom LUT to match the cameras up. And so, like, that's the kind of thing that you want a DIT for.

Vipul Bindra 1:41:07

So you know that you're there to build your dailies and all that other stuff. You know, they're not just copying media. Obviously, that's part of it, but it's not all they do, yeah. And but again, um, and that's good. That's what I'm saying. Part of this is just, you know, maybe somebody learns because uh because I get it, man. Like I said, there's more and more smaller sets. I I happen to spend most of my time in most small space. So it's funny, like I said, in my world, I work with so many people who just think that just a laptop and a hard drive is all in the DIT. I'm like, hey, whatever floats your boat, you know, as long as uh your your you know, your your clients are happy, right? At the end of the day, you know, we're not we're not making movies here or whatever. So but that's pretty good, man. Like I said, this conversation's been incredibly uh informative for me and just in general, because like I said, I uh I'm usually on the other side, on the hiring side. I'm I appreciate you having a lot of people.

Josh Reimer 1:41:56

Because we come from different worlds, exactly.

Vipul Bindra 1:41:58

You know, you know, my side, and just so you know, producer side, I'm if I ever need a farce AC, I just send five messages to people. It's like, what's your rate? What's your rate, right? I have a budget, but people don't reveal that, you know. Usually then you go, oh, I really want this person. And then you go, can I afford them? Then you know, you go, okay, hey, I only have whatever. Can you do it? You know, that's that's the my side of dealing with far C's, and you know, I'm like, okay, you're good, but yeah, you know, um, but like I said, more sets for me at least are getting smaller. Yeah, it's like you need to do more and more, like we talk about having to buy a nucleus nano two or whatever, because it's like, no, you need to do more, you need to do more, and you know, with less money, you know, it's just where I see the industry is do is going. So I've at least positioned myself to be that company where it's like, hey, we can take you know that little money and make as high level commercial as we can, you know, in that budget, because that's where I see the industry going. But that's not the right thing, to be honest. Uh, you know, I still prefer those bigger budgets with working with more people doing that those bigger things. It's just I don't know. That's where I see the industry going. So it's good to connect with people like you, you know, who are in the narrative world, you know, who are still getting to be part of something, you know, where at least it doesn't feel like it's collapsing, like at least I feel like commercial and corporate is where it's like lesser and lesser roles as the days go by, I feel.

Josh Reimer 1:43:21

Yeah, you know, I and and I don't think there's ever like a such thing as the right way to do things. I think that it's totally dependent on what you're shooting, exactly what the project is, the parameters of the project. If you're doing, you know, if you're doing corporate footage uh at some conference and you're bringing along a few FX3s and a few people use Sony lenses, use autofocus, like you know, that's yeah, you don't need a first AC. You don't need a first AC. I understand that my role is not always necessary. Like that's that is something that you have to understand if you're gonna work it. But if you're on something like a movie where focus is now a part of the storytelling, it's how to move the story forward. Then, you know, the right thing is.

Vipul Bindra 1:44:07

Like you said, you're trying to sell a story where you need to rack focus. I don't care how good autofocus is, it just never feels natural. You need a person to do it, and again, that's another task you're handing off to your camera operator who's already dealing with everything, you know, so managing battery, media, like we said, and that's how things go wrong, media gets deleted, or you know, things get broken. They're also trying to change lenses. It's just I get it, you know, like you said, coming from that smaller world where yes, far stay is not it's gonna be hard to sell, you know, to a production, but uh but I think on a decent sized productions, which still happen, even with collapsing market, you know, if we do decent commercials. So I'm saying it's important role, there's good money in it. Yeah, and you know, if this conversation hasn't helped, then I don't know what will be uh, you know, it's it's good, it's work, you know, as long as you enjoy it, as long as you love it, especially if you're a nerd like us, you know, who loves cameras and just nerding out right with things, yeah. I think it'd be a perfect role. Like I said, if I wasn't doing what I'm doing, I would I wouldn't mind because that's what I love to do, is just play and tinker with uh, you know, it's like our Legos, right? Oh absolutely it is. So why wouldn't you?

Josh Reimer 1:45:18

No, I mean if you love making movies and you want to get into the film industry and you want to serve an important purpose, like First A Sing is is a really great role. You work with the DP and it's it is a great, it's also a great path if you want to be a DP. Working through the camera department's a great path for that.

Vipul Bindra 1:45:33

Yeah, exactly. That's actually a very good perspective, too. If you're just wanting to be a DP, and obviously they're net they're not just letting people be on DP, a good especially good movies, so that can be a path to you know move up to to to kind of you know show your range and uh and uh scale, you know, of what how you can work through. Um so before we go, if we have some time left. Anything else you want to touch on or talk about?

Josh Reimer 1:45:55

Um, you know, I I just uh I really appreciate you having me here and I appreciate that I've uh you know I love always getting a chance to speak on my job because it is one of the lesser-known positions on set. A lot of people don't understand what a first assistant camera does. So I I love any chance uh where I get to speak about it. I actually went back to my high school where I took a uh TV production program there and I got to speak to the kids there about first I seeing, which was really special. Um, but yeah, I I I guess the only thing I want to say is like if you want to get into it, if you want to do it, like it is a really good role. It just comes with its trials and tribulations as any freelance career does. But as long as you work on building your network and work on understanding the gear, because the gear is ever evolving, if you are able to retain that knowledge and understand how different cameras work and the difference between sensors, the difference between lenses and the difference between the UI of red and the UI of Sony and the UI of R. If you're able to understand that, it is definitely something that anybody could get into. And then focus pulling comes along the way.

Vipul Bindra 1:46:57

Yeah. And that again, like you said, as long as you're following the story, you're feeling the story, you're understanding the arcs. It's not the hard, hard part, it's like that. You have to be um, you know, understanding that this is gonna change. It's not like the same cameras we use today, it will be the cameras we use in five years or 10 years or 15 years. And if you want to do this, you better love the cameras, right? And so you may you want to learn each new camera as it comes out or whatever, right? And then uh be part of that process and be that guy. Because, like you said, DP's gonna ask you to change a certain setting, and you better know where that setting is, even though the camera's only been out for a you know a week or whatever, right? And that's where the initiative part comes in, I think. Uh, where if you love it, you'd already want to figure it out. And most of these companies, and I've said this before, go to their websites, they have menu navigators. You can learn. I'll do that all the time. Where like I hadn't used Red in a while. So when I did Reddit, I was like, oh, I gotta go find one of these virtual menus and re-remember where the things are. And it took me five, ten minutes. I was like, oh, good. And so when I grabbed the camera, I was like, okay, I know where the things are because it was a rental camera. I don't just have it sitting here to remember. So it's okay. I'm just saying, but there's so many resources and tools out there, man. Like, if somebody just wants to learn, there's enough out there to learn. Absolutely.

Josh Reimer 1:48:13

There's more than there's ever been before. I mean, there are menu simulators, and like that's amazing. And like YouTube is such a resource. I there there will be so many times where there's a piece of gear that I'm using on a job the next day, and I I don't know how to use it. And I'll look up just a walkthrough of every single part of that piece of gear on YouTube, or I'll literally read the man. My friend's joke that I read camera manuals in bed before I go to sleep. It's actually true sometimes. I the I am in bed reading camera manuals sometimes. Okay, I don't go that far. You know, I'm very nerdy, but I'm not reading a manual. Well, you know, if I really need to know it, I'll I'll I'll know it now, I'll make sure that I know it. So it's just about being thorough, it's about being careful. You want to be safe with the gear as well.

Vipul Bindra 1:48:51

Exactly, especially because most times it's not your gear, it's rented. And and that again, one other way to get blacklisted would be to break something, especially if it's not an accident, you know, if like if negligence happens or whatever, and and the biggest thing you can do is not get yourself blacklisted. Uh, because again, network is everything, so you want to do the best you can. If you don't know something, Google or YouTube is your friend, or just ask. Ask questions, exactly. Most people will answer questions.

Josh Reimer 1:49:19

Yeah, just uh if you don't know something, just always ask questions instead of trying to do it with you know like that's negligence at that point. If you are, if you don't know how to do something, you don't you're and you're you don't stay curious and you just try to do it because you want to look good, it's probably gonna blow up in your face.

Where To Follow Josh And Wrap

Vipul Bindra 1:49:36

Yeah, and and you know more often than not. There's so much jargon in our industry, even me. Like sometimes somebody will say some random word that I'm like, what? Yeah, and and then they'll clap. I was like, oh that, yeah, I get it. You know, but you wouldn't know if you don't ask, if you just went, okay, and then you're not figuring out what do you need, what did they ask you to do? This is not how it works. Uh uh, and I I find most people are very friendly in the in the industry. And like if you ask a question, like genuinely, they will answer it, they'll tell you they're happy to because you know, again, most people love what they do, otherwise they wouldn't be in film. Uh, and and if they are, they're generally happy to talk about it. It's only when you bug them about the same thing ten times. So they're probably not gonna want to deal with you ever again. Yeah, you know, for that. But but this has been incredible, man. Thanks for coming. Uh I've really had so much fun talking to you off camera and now obviously on camera. And it's just good to a learn what buds you do, but in general, just connect with you. I think hopefully we'll get to collaborate soon on a project and it'll be fun. I would love to. Um and I want to thank Mario again. Uh thank you again for helping us make this episode. Thank you, Josh. Thank you. And before we go, thank you. And before we go, tell people where they can find you or bug you or follow you.

Josh Reimer 1:50:48

Yeah, absolutely. I mean, my Instagram is just my name, so it's uh Josh Reimer. And so my last name is R-I-E-M-E-R. Everybody gets that wrong on every single call sheet ever. Uh, but yeah, that's my Instagram and uh my website is jrcinematics.com. Um, and yeah, I mean, all my contact info is on there. I put my phone number, my email, and if anybody has any questions at all ever, or if you want to give me work, uh, feel free to contact me.

Vipul Bindra 1:51:16

Or if you have questions, take him to coffee. You know, learn from him, you know, more in detail. And uh, you know, talk about before we get names getting wrong, you know, Josh with a name like Vipal Bindra, I imagine one my name looks like on most call sheets. I I gotta show you a text I got earlier from a client on some equipment to bring, but my name is spelled in most creative way that I've never seen before. I don't know if it's autocorrect or they meant to do it. Anyway, yeah, this has been an awesome episode. Thank you again for coming. Appreciate it. Until next time, on another episode of Studio B sessions. Thank you for watching or listening.