August 27, 2021 • 29 mins
In this episode we chat with the incredible Colette Gabriel. Take a listen as Colette shares her journey thus far in her film career behind the camera. Learn tips and tricks for renting out the best gear you can for your project from this expert at Keslow Camera.
Colette Gabriel has been an active member of the filmmaking community for nearly 20 years. Her focus has always been on cameras, from working on set as a film loader in Hollywood to running Keslow Camera Chicago. She also volunteers her time as a board director of Filmscape Chicago, the midwest’s only trade show dedicated to providing free education and resources to the film and television community.
Additionally, we chat about Filmscape Chicago a wonderful event that will be taking place in Chicago (in person & virtually!!) Aug 28 & 29th in Chicago. Be sure to check it out to learn more about the latest & greatest film gear out there while connecting with like-minded professionals in the film industry. You don't want to miss it!
Host: Layne Marie Williams
Show Sponsor:
Every year we focus on bringing education and manufacturers to Chicago/the Midwest through our event
Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.
Graphics/Logo: Brynne Wassel
Music By: Devin Delaney & Noisefloor LTD
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:10):
Hello, and welcome to the walkie check.
Hey folks.
Welcome to the walkie check.
I'm Kat gross.
Be a script supervisor fromChicago and I'm LaMer Williams,
a film director in Los Angeles,California.
We're super excited to beworking with our friends at
noise floor to bring you themost creative and talented
people out there, there to sharetheir experiences, knowledge and
(00:31):
power.
On this episode, we do not haveour beautiful cat joining us.
She is working full time on aunion show right now.
So I will be leading thisinterview solo.
So today we're here with ColetteGabriel and she's an active
member of the filmmakingcommunity.
And she has been for 20 years.
(00:52):
Her focus has always been oncameras from working on set as a
film loader in Hollywood torunning Caslow camera Chicago.
She also volunteers her time asa board director of film scapes,
Chicago.
The Midwest's only trade showdedicated to providing free
education and resources to thefilm and television community.
Okay.
(01:15):
The walk you check is brought toyou by film scapes, Chicago film
scapes 2021 show is right aroundthe corner.
This August 28th and 29th filmscape brings together top
manufacturers, localprofessionals, and instructors.
And every part of it iscompletely free.
100%.
Every single class is free foranyone to attempt this year.
(01:36):
They are offering classes oneverything from lighting, grip,
and camera to intellectualproperty, law, audio, and
virtual production.
There's really something foreveryone.
Go for it.
Speaker 2 (01:51):
Well, hello.
Hello and welcome back to thewalkie check today.
We are here with ColletteGabriel, very, very wonderful
woman, and the industry inChicago.
And we are super excited to hearmore about her story, her
background, as well as a supercool event.
That's taking place August 28thand 29th in Chicago in person
(02:14):
also, there's a virtual elementtoo.
That's film scape Chicago.
So definitely check that out andyou'll hear more soon.
So Collette, when it comes toall things camera, you're an
expert, you've run a businessthat is literally renting all
the best quality gear tofilmmakers out there.
(02:35):
How did you find yourself inthat situation?
Speaker 3 (02:39):
I went to Columbia college here in Chicago.
I studied cinematography andwanted to get into that, then
found myself in LA.
Um, because at the time theindustry here really wasn't
much.
We didn't have the incentivesthat we have now.
And, um, things were just hadquieted down from a previous era
of a great amount of filmmaking.
(03:00):
So went out to LA because that'swhat you do.
And, uh, it was fantastic.
And I learned a ton and I workedhard and met a bunch of people
and got the camera union and allof that.
And then just kind of found thatI didn't want to be on set full
time.
I love it.
I think it's, it's a lot of fun.
(03:22):
Um, but it's also for everybodytalks.
Yeah.
It's really tough on your body.
I mean, at 25 I developedtendinitis in both Achilles and,
uh, had a hard time standing fora bit.
So just had to kind ofreevaluate what my role would be
in the industry because I'mstill definitely want it to be a
part of the film industry andstill loved cameras.
(03:43):
So ended up back in Chicago and,uh, after a few years of sort of
figuring out what path I wantedto take Robert Teslow, uh,
founder of castle camera gotconnected to me through some
people and, uh, setting isopening up an office here at
Cinespace film studios andwanting to know if I wanted to
(04:03):
run it.
So, um, nine years later I justhad my nine year anniversary.
Um, here I am so
Speaker 2 (04:10):
Happy anniversary.
Thanks.
Speaker 3 (04:13):
So it's just been great to still be able to work
with all the equipment.
I mean, I think that for me, Iliked, I liked the technical
side of things, but then alsothe creative side.
So, um, get to be here to helpDPS and ACS and everybody makes
sure the technical side is, istaken care of so they can see
(04:34):
their vision come through.
I mean, lane, right?
You've been one of our clientsand so exciting to see your
growth.
And I can't wait to see yourprojects, you know, your future
projects come
Speaker 2 (04:46):
Out well, thank you.
I appreciate that.
Yeah.
I'm, I'm super excited that wegot to work together recently.
We did two different projectstogether.
One's like a TV show and thenthe other is a feature film.
I wish I could say more, but Ican't really, it's amazing how,
like you just find yourself incertain situations with your
career where you're like, oh, Ican't share any stills.
(05:09):
Okay.
Got it.
No, that's good.
Right.
Speaker 3 (05:13):
That's a great place to be when you have to keep
things secret because they'rethat big and exciting
Speaker 2 (05:21):
And hopefully leading to the next thing.
One thing I really wanted totalk about that I thought our
listeners would benefit from waswhat's some of the like rookie
mistakes that you see arise whenfilmmakers are trying to rent
gear or, you know, how do yousort of help them pick out the
(05:42):
best gear for their project?
Cause it's always, you know,depending on what your project
is, it could be Fastlydifferent.
What are some of the earlymistakes that you see go down
that would be helpful for us toknow when we're trying to rent
from
Speaker 3 (05:56):
You?
The one thing I would say is,you know, less the camera side
of things, and we're justdealing with everything.
You know, the production side ofthings is just making sure that
you have insurance, insurancesquared away, insurance for
films, um, is a little differentthan insurance for your car.
Um, the way it's structured andwritten out.
(06:17):
And so, um, highly recommendjust going with a, an insurance
agent who understands the typeof insurances needed for
productions.
And then once you do that, onceyou line up with someone who is
familiar with that, they knowexactly how to word everything
and put it together and makesure everything is covered.
(06:38):
You know, sometimes,unfortunately it comes down to
the wire and we're ready to givethe gear to the crew, but, uh,
you know, have to make sure thatit's covered when it leaves our
office.
So, um, that's just one thingthat, you know, usually, uh,
ends up working out fine, but itcan be very frustrating,
especially when people, whenthey're dealing with that at the
(07:00):
last minute.
So definitely start looking intothat early.
I think another thing that, youknow, I give a lot of tours to,
uh, students from colleges.
And, uh, one thing that I liketo tell them is, you know, we're
here to help guide you and, youknow, discuss what gear might be
(07:20):
good for you, but we're notgoing to lay it all out for you,
but also don't feel sointimidated.
Like, oh, I have to know exactlywhat I want and come in and say,
yes, this is it.
We will talk you through it andsuggest, you know, Hey, these
lenses might be better for whatyou're trying to do.
Or, you know, I think it's justimportant to have an open
conversation.
(07:40):
Um, but ultimately, you know,most cinematographers come to us
kind of knowing ballpark, atleast what they want, or maybe
they have a dream and that's notavailable.
So we can kind of suggest thatrunner up.
That might be good.
Speaker 2 (07:53):
Yeah.
I think that's like, that's thebiggest thing about filmmaking
that you discover very quicklyas you, your career progresses,
that gear is extremely expensiveand depending on what the market
currently looks like, I feellike different camera bodies and
lenses are the new hotcommodity, and I'm sure you are
listening to that talk all day,every
Speaker 3 (08:15):
Day, everybody wants the new toys, right.
And, uh, we all want to playwith fun, new stuff.
And, uh, and it's great.
Um, but sometimes it's not theright choice for your project,
but, you know, I think that itwould, a lot of people do is,
you know, on a commercial, youknow, we're only shooting 1, 2,
3 days.
It's easier to be able to trysomething new, you know, try
(08:39):
lenses that you haven't beenable to use on a feature film.
Um, but you can kind ofexperiment a little more with a
commercial or a music video orsomething.
So we see a lot of that and thenpeople know what they're like
in, you know, in real life.
You know, it's one thing to justsort of do a lens test in a
controlled environment, but tosee how they play on set, um,
(09:01):
with different lighting andeverything is kind of fun to
see.
And then you can jot that downin your mind to know, okay, that
would be good for this style ofproject.
We always get the latest andgreatest toys as soon as we can,
but sometimes it's slow to comeout.
Everything is, you know, reallylike hand-built and takes a long
time to put out.
(09:23):
So, um, you know, there might beone or two lens sets of a new
type of lens for months beforesomeone else can get another set
in.
So it's hard.
What would you
Speaker 2 (09:33):
Say the current hot commodity it thing to rent right
now is it goes low.
Speaker 3 (09:40):
Large format is, is king right now.
So people, you know, any sort oflarge format lenses that people
can get their hands on.
They're wanting to do that.
And then the issue has beenthat, you know, large format
cameras came out, but it takes alot longer to come out with
lenses that are the same size aswell.
(10:01):
And just, you know, themanufacturing, I mean, we'll
hear about a new set of lenses,but it won't be ready to use for
a year, year and a half.
Um, so there are a lot moreoptions now out there and there
are more coming, so it's, it'sgetting a little better where
there's, there's some morevariety, but yeah, Sony, Venice
(10:21):
is still king for cameras rightnow.
And a close second would be theAlexa mini LF cameras.
The thing that's interesting tome is that the Sony Bennis
camera came out.
I think that there were somepeople that were hesitant, they
thought Sony, you know, justplastic digital, like reality
style camera.
(10:42):
Right.
And it wasn't, it's like, uh,amazing, like real true cinema
camera, but some people jumpedon board right away and not
everybody did.
And so it was kind of a sleeperhit in a filter, right.
It just kind of sat around andthen, I mean, didn't sit around,
but there were not as manypeople using it as now.
(11:03):
It's like all the rage, it justsnowballs and everybody wants it
and they realized how fantasticof the camera.
So
Speaker 2 (11:10):
It sounds like we'll be saying a lot more content
made with the Sony Venice and weasked them.
Yeah, yeah.
Um, yeah, I know the, the LFlenses in particular, I think
the issue was like you needed tohave some kind of special
adaptor or was something likethat.
If I'm right, you
Speaker 3 (11:29):
Need the sensors exercise to match up, but then
there are some adapters so thatyou can use, um, like non large
format lenses, super 35 lenseson large format cameras that
expand the image area.
Um, so yeah.
Uh, and then certain ones, youknow, airy, uh, came out with a
new style Mount to go with largeformat.
(11:52):
Um, and so the lens is that theycame out with our a different
mountain, but then you can getadapters to make them work with
other cameras.
And that sort of, they're tryingto push the trend that
direction.
So we'll see where that goes.
Speaker 2 (12:05):
Yeah.
I, I love this kind of talk.
I could literally do it with youall day, just talking about
gear.
Um, and we love it.
It's just, you just alwayslearned so much and it's just,
you know, it's not somethingthat I feel like we always get
to talk about.
So, you know, so much of, atleast my career thus far, like,
yes, we've definitely spent alot of time talking about the
gear, but I feel like you'rejust trying to get the thing to
(12:29):
the thing so that it becomes athing and that that's been the
most grueling part of all.
So I just love taking it andtalking about gear.
So thank you for indulging metoday.
Speaker 3 (12:41):
Yeah.
Anytime are you originally fromCalifornia?
Yeah, I grew up in Berkeley,California outside of San
Francisco.
And, uh, I, I have a lot offamily in the Midwest.
My dad's from Wisconsin, mymom's from Cleveland.
So I would come and visit familyin the summers, you know, every
(13:01):
few years.
So I knew Chicago a little bit.
And then when I was looking forcolleges, I didn't want to go to
LA and New York seemed a littletoo, too intimidating for me at
the time.
So Chicago seemed great.
I was to live here and my dadlived here when he was in his
early twenties.
And then I had some cousinshere.
So there was a little bit of asafety net fell in love with
(13:22):
Columbia and came and did theircinematography program.
And then they have a programcalled semester in LA and it
helps you transition out to theLA world.
Um, so I did that at my very endof school.
And so that's, that's whatbrought me back out to LA.
I grew to like LA too.
(13:42):
Um, although I do like Chicagomore, so, which is why I'm here,
but LA is definitely has aplace.
Yeah,
Speaker 2 (13:50):
Yeah, it does that.
It does.
I was, uh, interviewing AshleyJoyce this morning.
And, um, we were just talkingabout, I of course, like brought
up LA in Chicago and just said,you know, everybody always talks
a lot of smack about LA.
Um, so you know, now that I'mhere for myself and hear myself
to see it all and I, you know,I'm visited, but now that I
(14:12):
really live here, I think thesmack is unnecessary.
Speaker 3 (14:16):
Everybody has to find their place.
Right.
You know, and, and, and seewhere, where they fit the best.
And, um, you know, like I said,I, I worked a lot in LA and
really enjoyed it and, you know,I have great friends still out
there and, uh, and I go outmultiple times a year for Keso,
(14:37):
um, and then get to see friends.
And it's amazing how much it'sgrown.
Um, since I've been there andchanged, I feel like LA has
gotten much better.
So I like it better other than,of course the getting more so
with more people.
But, um, there's just like somuch more of a restaurant scene
(14:58):
and the, um, neighborhood vibesgoing on.
There's just more stuff to dowhere I felt like there was less
of a sense of community for mewhen I was there and I don't
like to drive.
So I prefer biking everywhereand public transportation.
So Chicago fit that bill, but,um, but I do miss the mountains
Speaker 2 (15:17):
Was filming them during COVID.
Speaker 3 (15:20):
I think everybody would say it's busier than ever
in Chicago.
I mean, I think all over, youknow, I'm really connected to
all of a puzzle camera offices,which are all over the U S and
Canada.
So I'm kind of pretty familiarwith the way the markets are
going.
And it's, I mean, it's beenpretty crazy all over.
(15:41):
I think that it just comes downto the fact that our industry
got together and sat down andfigured out how we can do this.
You know, we couldn't not workforever.
So we needed to figure out howwe could safely get back to
work.
You know, they've proved thatthe standards set in place work
my office in particular, we'vebeen back here for over a year.
(16:03):
So, you know, it was really onlya few months that we were
hunkered down, you know, tryingto, you know, just get by for a
few months, you know, you lookat other industries and, and
they've struggled.
Um, certainly, you know, we'renot without our strugglers in,
in this industry, but, but yeah,I mean, it's worked, you know,
looking at all the productionshere, uh, there obviously have
(16:26):
been, you know, COVID cases thathave shut down production or, or
at least, uh, you know, had toquarantine groups of people.
But fortunately I haven't heardany of any, um, severe cases
here in town, um, andeverybody's been able to get
through and keep working.
So, yeah, it's, I think it'sgone really well.
(16:47):
Um, man, I think before westarted recording, I was just
talking about how manycommercials are shooting right
now.
You know, there's so many new TVshows along with the ones that
have been around for a number ofyears here.
So it's, it's super busy.
There's a feature coming intotown soon.
Um, another pilot, we justfinished a pilot it's, it's
great to see and, uh, it's greatto see everybody
Speaker 2 (17:08):
Working.
That's great.
That's super good to hear.
I, I always get excited,especially since the pandemic of
just hearing people feeling likethey're kicking up some dust,
you know, so film, scapes,Chicago, how would you get
involved?
And what has the birth of thatbeen like?
And for our listeners film,scapes, Chicago is a really
(17:30):
wonderful event.
That's going to be in-personthis year with a virtual
element.
Um, I've been a part of that inthe past and always had a great
time.
Yeah.
Call it, take it away for
Speaker 3 (17:42):
Those don't know.
Um, we're essentially, uh, anindustry trade show, but our key
focus on education.
Um, and it's very important forus to provide the education for
free.
So, um, we partner with, um,various, uh, film vendors to
come in and they bring theirlatest gear and show that off,
(18:03):
which is fantastic.
Um, but then also, um, lendtheir experts to teach classes,
um, during the event.
So it's a two day events, August28th and 29th.
And they're all kinds of classesfrom, uh, you know, Lenz,
flaring class to some soundclasses.
(18:24):
Uh, some post-production classes, legal basics of filmmaking has
been one of our hottest classesevery year.
So we always bring that oneback.
We started, um, smaller,there've been a few kind of
slightly different iterations,you know, so I don't know
exactly how many years ago, but,um, started as a one day event.
(18:44):
And it was really just a gripand electric event and showing
off that gear and people coming.
So it was a, it was a smallertrade show that, uh, had some
success and I would just supplycameras to go on the cranes and
things that they were showingoff.
And, um, we thought, well, let'sexpand this to also include
(19:05):
camera vendors and a little moreof that.
Um, and then start havingclasses and everything.
So, um, so yeah, we startedgrowing with camera element and
then, um, we just keep addingonto it more and more.
So, um, if you attend the event,there's a feedback survey at the
end.
Um, we're always looking forsuggestions on what type of
(19:26):
classes that people want to haveand type of vendors, so we can
grow it even more.
Last year, we had a, um, specialeffects makeup class.
So just really, you know, wewant it to be all encompassing
for the film industry for thelast couple of years, it's been
a two day event.
Um, of course last year wecouldn't have it in person.
Um, but we were able to put ittogether digitally.
(19:48):
And we were one of the onlytrade shows that did so, and,
uh, it was fantastic.
The response we got and we hadpeople from numerous countries
joining in.
So it was great that we couldreach a wider audience to join
in on this classes.
So that's why we do want to keepsome of it digitally this year.
So everything will be in person.
(20:09):
However, some of the classeswill be broadcast live.
So if you want to sign updigitally, if you're not in
Chicago, or if you don't feelcomfortable coming to the live
event, you can sign up for themdigitally.
And when you sign up, you'll seewhich classes are available
online versus in-person awesome.
Speaker 2 (20:27):
And that's all taking place at a SIM space.
Speaker 3 (20:30):
Yeah.
Um, so my, uh, Kessel office isthat Cinespace, um, and
Cinespace has really, you know,has their purpose been to
provide stages to film on, butto also just be a production hub
for the city of Chicago.
Um, so there are a number ofdifferent here.
Um, and then they are advocatesfor the industry to help grow
(20:53):
it.
So, um, they were happy to comeon board to, to host us.
We have space right in thecenter of the studio, um, where
all the classes are held.
So if you come, um, and youhaven't been to the studio, you
get a little peak in the worldhair, which is pretty awesome.
Speaker 2 (21:10):
It's such a good energy being in, in the
Cinespace lots like anytime I'mever there, I'm just like, ah, I
can just like feel the hope andcreativity and yeah.
Um, I'm a big fan.
So go check it out.
Film scape, Chicago, August 28thand 29th taking place at
Cinespace Chicago, go check outsome workshops for free and
(21:34):
participate digitally
Speaker 3 (21:36):
To have it already come.
We have a wide range of peoplecoming from film students, or
just people interested in theindustry.
You know, not everybody has theopportunity to go to film
school.
And we recognize that and wantto give you, you know, the best
education that you can as well,and be a little part of that.
Um, the classes are only, youknow, an hour or so long, but,
(22:00):
um, certainly pack a big punchin those classes.
So, um, trying to provide, youknow, whatever we can to really
help, uh, grow, grow ourcommunity here.
Um, but then we have, you know,tons of union members and, you
know, industry veterans thatcome in.
So it's, it's really a lot offun to see the whole community.
(22:21):
And it's a good networking event.
Um, we are still in COVID, uh,we are requiring masks for
everybody.
It will be taking place insideand outside.
Um, a lot of the inside spacesis pretty open as well, so we
feel really comfortable that,uh, that'll be, uh, a safe event
for the weekend.
(22:42):
Yeah.
It's really excited to do itagain in person.
Speaker 2 (22:45):
Yeah.
I think you guys, I think you'llhave a great turnout.
I really do.
I can feel it.
People are probably chomping atthe bit to go network and see
one another and do some filmthings.
Um, yeah, it's a greatopportunity to just go get brush
up on your skills, learnsomething you didn't know
before.
I remember in past years, likewalking by, uh, the airy booth
(23:09):
and they were using lenses andhad created this sort of like
wire iridescent filter that theywere putting on top, on top of
the lens and shooting throughit.
And they showed us on a monitorwhat it looked like.
And it was just like, uh,another moment in time where I
was like, oh, like, that'sanother cool tool to be able to
(23:33):
do the kind of work I want tomake, you know, that you can
always experiment, you know, go,go check it out, get inspired.
It's an opportunity to go spendthe end of the summer with, uh,
people in your industry,regardless of what level you're
at.
One thing I wanted to ask you aswell is let's say we have a
listener that has never rentedcamera gear before, you know,
(23:56):
wants to make their first film.
What would the process look likefor them
Speaker 3 (24:01):
Call us up?
Um, you know, we're, we'realways willing to work with the,
you know, everybody and see whatwe can make work for your budget
and, and just looking at whatyour project is, but, you know,
it's important to be, you know,organized and, and have a plan
of what you want to do and, uh,have a team that you're
(24:22):
collaborating with.
Don't try to do this on yourown.
I mean, that's one of theamazing things about the film
industry is the collaborationprocess.
If you're just starting outhappy to kind of talk to you
about dreams versus, uh, what'sa little more realistic to
achieve in the end.
It, you know, coming from acamera side of things, if it, if
you have a cinematographer, youknow, with great vision and
(24:47):
skills that can, they can makesomething that looks beautiful
with any gear.
Um, so, you know, happy to kindof work with everybody on that.
But yeah, I mean, just, don't beafraid to, to jump in, but you
know, the organization and skiand, and, and just talking
things out with your team too,
Speaker 2 (25:07):
If you had any words of wisdom to impart on aspiring
filmmakers from any level, whatwould it be
Speaker 3 (25:15):
If you're passionate about it, you know, just listen
to listen to that passion insideand don't let people stop you.
I mean, you know, you just haveto keep pushing it, what you
want.
Um, you know, I discovered thatI wasn't that passionate about
being my own cinematographer andthat, you know, still
(25:37):
photography was more what I wasinterested in because on a
personal level, I like workingon my own where, you know, I
love the collaborative processof filmmaking.
Um, but you know, I like being apart of that, but not being the
sort of the lead in that, youknow, and it is.
(25:57):
So you just have to, you know,go with your gut and know, know
what you want, and don't beafraid to experiment too and try
and fail.
You know, I mean, most peopledon't succeed on their first try
of, you know, starting abusiness or, you know, their
first film isn't necessarilygoing to be a masterpiece, but,
(26:18):
um, practice makes perfect.
I mean, you have to work at it,give it a shot, don't say no to
opportunities.
You know, sometimes you mightthink that it's not worth your
time, but you generally willlearn something on everything
you do.
So, you know, say yes to helpingso-and-so out on their, on their
(26:40):
job or taking a job that mightnot, you know, exactly the way
you want to go, but you'llcertainly meet people and learn
a little bit more about what youdo.
Well, thank
Speaker 2 (26:50):
You so much.
That was inspiring.
I needed to hear some of that.
Speaking of a home, you'retalking about your home and I
just felt like we needed to makesure our listeners who live on a
boat when your husband live on aboat.
It's, um, it's a beautiful boatsand you're there all year.
Right.
(27:12):
I know we're kind of crazy.
Speaker 3 (27:16):
Yeah.
We've lived aboard for sevenyears and, um, just, uh, I don't
know, we like alternative livingand, uh, it's been a lot of fun
and we have no regrets and wecan't imagine living on land.
Um, yeah.
Um, and, uh, we did actuallystart a YouTube channel, um,
(27:39):
this, uh, past winter to, youknow, cause people ask us
questions all the time.
Um, so we thought, well, weshould just share that on video.
So, uh, if you're interested inthat it's water rethinking, uh,
is our YouTube channel.
So yeah.
Little little time.
Speaker 2 (27:57):
Yes.
Water you want, are you thinking
Speaker 3 (28:01):
Water?
We thinking CR so, yeah, I guessthere's a little bit of
filmmaking, although, um, myhusband, Kevin does most of the
work.
Um, so he works freelance.
So he, uh, it's, it's taken alot of times to, to constantly
be editing, editing videos andeverything, but it's, it's a lot
of fun to share what we'redoing.
(28:23):
Nice.
Speaker 2 (28:23):
Yeah.
And it's always good to havelike impersonal endeavors that
fill your cup in a differentway.
You know, like I've found thatto be the most important part of
being a filmmaker is like, Ihave enjoy your life.
You know, it's like really verysimple, but it's such an easy
thing to neglect or, you know,not check in was like gratitude
(28:46):
on.
Speaker 3 (28:46):
Yeah.
I mean, I guess on that note,you know, in a, and in parting
my infinite wisdom, um, youknow, it's just making sure that
you find balance, which is hardin this industry, especially if
you're working on set andworking 14, 16 hours in a day,
it can be really tough.
So you really have to check inwith yourself and find time for
(29:08):
yourself within that too.
Well, thank you so much.
This was, it
Speaker 2 (29:12):
Was so great.
Seeing your face again.
It's been a year, at least atleast a year.
So
Speaker 1 (29:19):
Thank you for having me.
Thanks for coming on.
Thanks so much for tuning in tothe walkie check.
Big thanks to noise floor LTD,our executive producer.
You can give us a follow on atthe walkie check as well as at
legacy Marine pictures.
Hello, and welcome to the walkie check.
Hey folks.
Welcome to the walkie check.
I'm Kat gross.
Be a script supervisor fromChicago and I'm LaMer Williams,
a film director in Los Angeles,California.
We're super excited to beworking with our friends at
noise floor to bring you themost creative and talented
people out there, there to sharetheir experiences, knowledge and
(00:31):
power.
On this episode, we do not haveour beautiful cat joining us.
She is working full time on aunion show right now.
So I will be leading thisinterview solo.
So today we're here with ColetteGabriel and she's an active
member of the filmmakingcommunity.
And she has been for 20 years.
(00:52):
Her focus has always been oncameras from working on set as a
film loader in Hollywood torunning Caslow camera Chicago.
She also volunteers her time asa board director of film scapes,
Chicago.
The Midwest's only trade showdedicated to providing free
education and resources to thefilm and television community.
Okay.
(01:15):
The walk you check is brought toyou by film scapes, Chicago film
scapes 2021 show is right aroundthe corner.
This August 28th and 29th filmscape brings together top
manufacturers, localprofessionals, and instructors.
And every part of it iscompletely free.
100%.
Every single class is free foranyone to attempt this year.
(01:36):
They are offering classes oneverything from lighting, grip,
and camera to intellectualproperty, law, audio, and
virtual production.
There's really something foreveryone.
Go for it.
Speaker 2 (01:51):
Well, hello.
Hello and welcome back to thewalkie check today.
We are here with ColletteGabriel, very, very wonderful
woman, and the industry inChicago.
And we are super excited to hearmore about her story, her
background, as well as a supercool event.
That's taking place August 28thand 29th in Chicago in person
(02:14):
also, there's a virtual elementtoo.
That's film scape Chicago.
So definitely check that out andyou'll hear more soon.
So Collette, when it comes toall things camera, you're an
expert, you've run a businessthat is literally renting all
the best quality gear tofilmmakers out there.
(02:35):
How did you find yourself inthat situation?
Speaker 3 (02:39):
I went to Columbia college here in Chicago.
I studied cinematography andwanted to get into that, then
found myself in LA.
Um, because at the time theindustry here really wasn't
much.
We didn't have the incentivesthat we have now.
And, um, things were just hadquieted down from a previous era
of a great amount of filmmaking.
(03:00):
So went out to LA because that'swhat you do.
And, uh, it was fantastic.
And I learned a ton and I workedhard and met a bunch of people
and got the camera union and allof that.
And then just kind of found thatI didn't want to be on set full
time.
I love it.
I think it's, it's a lot of fun.
(03:22):
Um, but it's also for everybodytalks.
Yeah.
It's really tough on your body.
I mean, at 25 I developedtendinitis in both Achilles and,
uh, had a hard time standing fora bit.
So just had to kind ofreevaluate what my role would be
in the industry because I'mstill definitely want it to be a
part of the film industry andstill loved cameras.
(03:43):
So ended up back in Chicago and,uh, after a few years of sort of
figuring out what path I wantedto take Robert Teslow, uh,
founder of castle camera gotconnected to me through some
people and, uh, setting isopening up an office here at
Cinespace film studios andwanting to know if I wanted to
(04:03):
run it.
So, um, nine years later I justhad my nine year anniversary.
Um, here I am so
Speaker 2 (04:10):
Happy anniversary.
Thanks.
Speaker 3 (04:13):
So it's just been great to still be able to work
with all the equipment.
I mean, I think that for me, Iliked, I liked the technical
side of things, but then alsothe creative side.
So, um, get to be here to helpDPS and ACS and everybody makes
sure the technical side is, istaken care of so they can see
(04:34):
their vision come through.
I mean, lane, right?
You've been one of our clientsand so exciting to see your
growth.
And I can't wait to see yourprojects, you know, your future
projects come
Speaker 2 (04:46):
Out well, thank you.
I appreciate that.
Yeah.
I'm, I'm super excited that wegot to work together recently.
We did two different projectstogether.
One's like a TV show and thenthe other is a feature film.
I wish I could say more, but Ican't really, it's amazing how,
like you just find yourself incertain situations with your
career where you're like, oh, Ican't share any stills.
(05:09):
Okay.
Got it.
No, that's good.
Right.
Speaker 3 (05:13):
That's a great place to be when you have to keep
things secret because they'rethat big and exciting
Speaker 2 (05:21):
And hopefully leading to the next thing.
One thing I really wanted totalk about that I thought our
listeners would benefit from waswhat's some of the like rookie
mistakes that you see arise whenfilmmakers are trying to rent
gear or, you know, how do yousort of help them pick out the
(05:42):
best gear for their project?
Cause it's always, you know,depending on what your project
is, it could be Fastlydifferent.
What are some of the earlymistakes that you see go down
that would be helpful for us toknow when we're trying to rent
from
Speaker 3 (05:56):
You?
The one thing I would say is,you know, less the camera side
of things, and we're justdealing with everything.
You know, the production side ofthings is just making sure that
you have insurance, insurancesquared away, insurance for
films, um, is a little differentthan insurance for your car.
Um, the way it's structured andwritten out.
(06:17):
And so, um, highly recommendjust going with a, an insurance
agent who understands the typeof insurances needed for
productions.
And then once you do that, onceyou line up with someone who is
familiar with that, they knowexactly how to word everything
and put it together and makesure everything is covered.
(06:38):
You know, sometimes,unfortunately it comes down to
the wire and we're ready to givethe gear to the crew, but, uh,
you know, have to make sure thatit's covered when it leaves our
office.
So, um, that's just one thingthat, you know, usually, uh,
ends up working out fine, but itcan be very frustrating,
especially when people, whenthey're dealing with that at the
(07:00):
last minute.
So definitely start looking intothat early.
I think another thing that, youknow, I give a lot of tours to,
uh, students from colleges.
And, uh, one thing that I liketo tell them is, you know, we're
here to help guide you and, youknow, discuss what gear might be
(07:20):
good for you, but we're notgoing to lay it all out for you,
but also don't feel sointimidated.
Like, oh, I have to know exactlywhat I want and come in and say,
yes, this is it.
We will talk you through it andsuggest, you know, Hey, these
lenses might be better for whatyou're trying to do.
Or, you know, I think it's justimportant to have an open
conversation.
(07:40):
Um, but ultimately, you know,most cinematographers come to us
kind of knowing ballpark, atleast what they want, or maybe
they have a dream and that's notavailable.
So we can kind of suggest thatrunner up.
That might be good.
Speaker 2 (07:53):
Yeah.
I think that's like, that's thebiggest thing about filmmaking
that you discover very quicklyas you, your career progresses,
that gear is extremely expensiveand depending on what the market
currently looks like, I feellike different camera bodies and
lenses are the new hotcommodity, and I'm sure you are
listening to that talk all day,every
Speaker 3 (08:15):
Day, everybody wants the new toys, right.
And, uh, we all want to playwith fun, new stuff.
And, uh, and it's great.
Um, but sometimes it's not theright choice for your project,
but, you know, I think that itwould, a lot of people do is,
you know, on a commercial, youknow, we're only shooting 1, 2,
3 days.
It's easier to be able to trysomething new, you know, try
(08:39):
lenses that you haven't beenable to use on a feature film.
Um, but you can kind ofexperiment a little more with a
commercial or a music video orsomething.
So we see a lot of that and thenpeople know what they're like
in, you know, in real life.
You know, it's one thing to justsort of do a lens test in a
controlled environment, but tosee how they play on set, um,
(09:01):
with different lighting andeverything is kind of fun to
see.
And then you can jot that downin your mind to know, okay, that
would be good for this style ofproject.
We always get the latest andgreatest toys as soon as we can,
but sometimes it's slow to comeout.
Everything is, you know, reallylike hand-built and takes a long
time to put out.
(09:23):
So, um, you know, there might beone or two lens sets of a new
type of lens for months beforesomeone else can get another set
in.
So it's hard.
What would you
Speaker 2 (09:33):
Say the current hot commodity it thing to rent right
now is it goes low.
Speaker 3 (09:40):
Large format is, is king right now.
So people, you know, any sort oflarge format lenses that people
can get their hands on.
They're wanting to do that.
And then the issue has beenthat, you know, large format
cameras came out, but it takes alot longer to come out with
lenses that are the same size aswell.
(10:01):
And just, you know, themanufacturing, I mean, we'll
hear about a new set of lenses,but it won't be ready to use for
a year, year and a half.
Um, so there are a lot moreoptions now out there and there
are more coming, so it's, it'sgetting a little better where
there's, there's some morevariety, but yeah, Sony, Venice
(10:21):
is still king for cameras rightnow.
And a close second would be theAlexa mini LF cameras.
The thing that's interesting tome is that the Sony Bennis
camera came out.
I think that there were somepeople that were hesitant, they
thought Sony, you know, justplastic digital, like reality
style camera.
(10:42):
Right.
And it wasn't, it's like, uh,amazing, like real true cinema
camera, but some people jumpedon board right away and not
everybody did.
And so it was kind of a sleeperhit in a filter, right.
It just kind of sat around andthen, I mean, didn't sit around,
but there were not as manypeople using it as now.
(11:03):
It's like all the rage, it justsnowballs and everybody wants it
and they realized how fantasticof the camera.
So
Speaker 2 (11:10):
It sounds like we'll be saying a lot more content
made with the Sony Venice and weasked them.
Yeah, yeah.
Um, yeah, I know the, the LFlenses in particular, I think
the issue was like you needed tohave some kind of special
adaptor or was something likethat.
If I'm right, you
Speaker 3 (11:29):
Need the sensors exercise to match up, but then
there are some adapters so thatyou can use, um, like non large
format lenses, super 35 lenseson large format cameras that
expand the image area.
Um, so yeah.
Uh, and then certain ones, youknow, airy, uh, came out with a
new style Mount to go with largeformat.
(11:52):
Um, and so the lens is that theycame out with our a different
mountain, but then you can getadapters to make them work with
other cameras.
And that sort of, they're tryingto push the trend that
direction.
So we'll see where that goes.
Speaker 2 (12:05):
Yeah.
I, I love this kind of talk.
I could literally do it with youall day, just talking about
gear.
Um, and we love it.
It's just, you just alwayslearned so much and it's just,
you know, it's not somethingthat I feel like we always get
to talk about.
So, you know, so much of, atleast my career thus far, like,
yes, we've definitely spent alot of time talking about the
gear, but I feel like you'rejust trying to get the thing to
(12:29):
the thing so that it becomes athing and that that's been the
most grueling part of all.
So I just love taking it andtalking about gear.
So thank you for indulging metoday.
Speaker 3 (12:41):
Yeah.
Anytime are you originally fromCalifornia?
Yeah, I grew up in Berkeley,California outside of San
Francisco.
And, uh, I, I have a lot offamily in the Midwest.
My dad's from Wisconsin, mymom's from Cleveland.
So I would come and visit familyin the summers, you know, every
(13:01):
few years.
So I knew Chicago a little bit.
And then when I was looking forcolleges, I didn't want to go to
LA and New York seemed a littletoo, too intimidating for me at
the time.
So Chicago seemed great.
I was to live here and my dadlived here when he was in his
early twenties.
And then I had some cousinshere.
So there was a little bit of asafety net fell in love with
(13:22):
Columbia and came and did theircinematography program.
And then they have a programcalled semester in LA and it
helps you transition out to theLA world.
Um, so I did that at my very endof school.
And so that's, that's whatbrought me back out to LA.
I grew to like LA too.
(13:42):
Um, although I do like Chicagomore, so, which is why I'm here,
but LA is definitely has aplace.
Yeah,
Speaker 2 (13:50):
Yeah, it does that.
It does.
I was, uh, interviewing AshleyJoyce this morning.
And, um, we were just talkingabout, I of course, like brought
up LA in Chicago and just said,you know, everybody always talks
a lot of smack about LA.
Um, so you know, now that I'mhere for myself and hear myself
to see it all and I, you know,I'm visited, but now that I
(14:12):
really live here, I think thesmack is unnecessary.
Speaker 3 (14:16):
Everybody has to find their place.
Right.
You know, and, and, and seewhere, where they fit the best.
And, um, you know, like I said,I, I worked a lot in LA and
really enjoyed it and, you know,I have great friends still out
there and, uh, and I go outmultiple times a year for Keso,
(14:37):
um, and then get to see friends.
And it's amazing how much it'sgrown.
Um, since I've been there andchanged, I feel like LA has
gotten much better.
So I like it better other than,of course the getting more so
with more people.
But, um, there's just like somuch more of a restaurant scene
(14:58):
and the, um, neighborhood vibesgoing on.
There's just more stuff to dowhere I felt like there was less
of a sense of community for mewhen I was there and I don't
like to drive.
So I prefer biking everywhereand public transportation.
So Chicago fit that bill, but,um, but I do miss the mountains
Speaker 2 (15:17):
Was filming them during COVID.
Speaker 3 (15:20):
I think everybody would say it's busier than ever
in Chicago.
I mean, I think all over, youknow, I'm really connected to
all of a puzzle camera offices,which are all over the U S and
Canada.
So I'm kind of pretty familiarwith the way the markets are
going.
And it's, I mean, it's beenpretty crazy all over.
(15:41):
I think that it just comes downto the fact that our industry
got together and sat down andfigured out how we can do this.
You know, we couldn't not workforever.
So we needed to figure out howwe could safely get back to
work.
You know, they've proved thatthe standards set in place work
my office in particular, we'vebeen back here for over a year.
(16:03):
So, you know, it was really onlya few months that we were
hunkered down, you know, tryingto, you know, just get by for a
few months, you know, you lookat other industries and, and
they've struggled.
Um, certainly, you know, we'renot without our strugglers in,
in this industry, but, but yeah,I mean, it's worked, you know,
looking at all the productionshere, uh, there obviously have
(16:26):
been, you know, COVID cases thathave shut down production or, or
at least, uh, you know, had toquarantine groups of people.
But fortunately I haven't heardany of any, um, severe cases
here in town, um, andeverybody's been able to get
through and keep working.
So, yeah, it's, I think it'sgone really well.
(16:47):
Um, man, I think before westarted recording, I was just
talking about how manycommercials are shooting right
now.
You know, there's so many new TVshows along with the ones that
have been around for a number ofyears here.
So it's, it's super busy.
There's a feature coming intotown soon.
Um, another pilot, we justfinished a pilot it's, it's
great to see and, uh, it's greatto see everybody
Speaker 2 (17:08):
Working.
That's great.
That's super good to hear.
I, I always get excited,especially since the pandemic of
just hearing people feeling likethey're kicking up some dust,
you know, so film, scapes,Chicago, how would you get
involved?
And what has the birth of thatbeen like?
And for our listeners film,scapes, Chicago is a really
(17:30):
wonderful event.
That's going to be in-personthis year with a virtual
element.
Um, I've been a part of that inthe past and always had a great
time.
Yeah.
Call it, take it away for
Speaker 3 (17:42):
Those don't know.
Um, we're essentially, uh, anindustry trade show, but our key
focus on education.
Um, and it's very important forus to provide the education for
free.
So, um, we partner with, um,various, uh, film vendors to
come in and they bring theirlatest gear and show that off,
(18:03):
which is fantastic.
Um, but then also, um, lendtheir experts to teach classes,
um, during the event.
So it's a two day events, August28th and 29th.
And they're all kinds of classesfrom, uh, you know, Lenz,
flaring class to some soundclasses.
(18:24):
Uh, some post-production classes, legal basics of filmmaking has
been one of our hottest classesevery year.
So we always bring that oneback.
We started, um, smaller,there've been a few kind of
slightly different iterations,you know, so I don't know
exactly how many years ago, but,um, started as a one day event.
(18:44):
And it was really just a gripand electric event and showing
off that gear and people coming.
So it was a, it was a smallertrade show that, uh, had some
success and I would just supplycameras to go on the cranes and
things that they were showingoff.
And, um, we thought, well, let'sexpand this to also include
(19:05):
camera vendors and a little moreof that.
Um, and then start havingclasses and everything.
So, um, so yeah, we startedgrowing with camera element and
then, um, we just keep addingonto it more and more.
So, um, if you attend the event,there's a feedback survey at the
end.
Um, we're always looking forsuggestions on what type of
(19:26):
classes that people want to haveand type of vendors, so we can
grow it even more.
Last year, we had a, um, specialeffects makeup class.
So just really, you know, wewant it to be all encompassing
for the film industry for thelast couple of years, it's been
a two day event.
Um, of course last year wecouldn't have it in person.
Um, but we were able to put ittogether digitally.
(19:48):
And we were one of the onlytrade shows that did so, and,
uh, it was fantastic.
The response we got and we hadpeople from numerous countries
joining in.
So it was great that we couldreach a wider audience to join
in on this classes.
So that's why we do want to keepsome of it digitally this year.
So everything will be in person.
(20:09):
However, some of the classeswill be broadcast live.
So if you want to sign updigitally, if you're not in
Chicago, or if you don't feelcomfortable coming to the live
event, you can sign up for themdigitally.
And when you sign up, you'll seewhich classes are available
online versus in-person awesome.
Speaker 2 (20:27):
And that's all taking place at a SIM space.
Speaker 3 (20:30):
Yeah.
Um, so my, uh, Kessel office isthat Cinespace, um, and
Cinespace has really, you know,has their purpose been to
provide stages to film on, butto also just be a production hub
for the city of Chicago.
Um, so there are a number ofdifferent here.
Um, and then they are advocatesfor the industry to help grow
(20:53):
it.
So, um, they were happy to comeon board to, to host us.
We have space right in thecenter of the studio, um, where
all the classes are held.
So if you come, um, and youhaven't been to the studio, you
get a little peak in the worldhair, which is pretty awesome.
Speaker 2 (21:10):
It's such a good energy being in, in the
Cinespace lots like anytime I'mever there, I'm just like, ah, I
can just like feel the hope andcreativity and yeah.
Um, I'm a big fan.
So go check it out.
Film scape, Chicago, August 28thand 29th taking place at
Cinespace Chicago, go check outsome workshops for free and
(21:34):
participate digitally
Speaker 3 (21:36):
To have it already come.
We have a wide range of peoplecoming from film students, or
just people interested in theindustry.
You know, not everybody has theopportunity to go to film
school.
And we recognize that and wantto give you, you know, the best
education that you can as well,and be a little part of that.
Um, the classes are only, youknow, an hour or so long, but,
(22:00):
um, certainly pack a big punchin those classes.
So, um, trying to provide, youknow, whatever we can to really
help, uh, grow, grow ourcommunity here.
Um, but then we have, you know,tons of union members and, you
know, industry veterans thatcome in.
So it's, it's really a lot offun to see the whole community.
(22:21):
And it's a good networking event.
Um, we are still in COVID, uh,we are requiring masks for
everybody.
It will be taking place insideand outside.
Um, a lot of the inside spacesis pretty open as well, so we
feel really comfortable that,uh, that'll be, uh, a safe event
for the weekend.
(22:42):
Yeah.
It's really excited to do itagain in person.
Speaker 2 (22:45):
Yeah.
I think you guys, I think you'llhave a great turnout.
I really do.
I can feel it.
People are probably chomping atthe bit to go network and see
one another and do some filmthings.
Um, yeah, it's a greatopportunity to just go get brush
up on your skills, learnsomething you didn't know
before.
I remember in past years, likewalking by, uh, the airy booth
(23:09):
and they were using lenses andhad created this sort of like
wire iridescent filter that theywere putting on top, on top of
the lens and shooting throughit.
And they showed us on a monitorwhat it looked like.
And it was just like, uh,another moment in time where I
was like, oh, like, that'sanother cool tool to be able to
(23:33):
do the kind of work I want tomake, you know, that you can
always experiment, you know, go,go check it out, get inspired.
It's an opportunity to go spendthe end of the summer with, uh,
people in your industry,regardless of what level you're
at.
One thing I wanted to ask you aswell is let's say we have a
listener that has never rentedcamera gear before, you know,
(23:56):
wants to make their first film.
What would the process look likefor them
Speaker 3 (24:01):
Call us up?
Um, you know, we're, we'realways willing to work with the,
you know, everybody and see whatwe can make work for your budget
and, and just looking at whatyour project is, but, you know,
it's important to be, you know,organized and, and have a plan
of what you want to do and, uh,have a team that you're
(24:22):
collaborating with.
Don't try to do this on yourown.
I mean, that's one of theamazing things about the film
industry is the collaborationprocess.
If you're just starting outhappy to kind of talk to you
about dreams versus, uh, what'sa little more realistic to
achieve in the end.
It, you know, coming from acamera side of things, if it, if
you have a cinematographer, youknow, with great vision and
(24:47):
skills that can, they can makesomething that looks beautiful
with any gear.
Um, so, you know, happy to kindof work with everybody on that.
But yeah, I mean, just, don't beafraid to, to jump in, but you
know, the organization and skiand, and, and just talking
things out with your team too,
Speaker 2 (25:07):
If you had any words of wisdom to impart on aspiring
filmmakers from any level, whatwould it be
Speaker 3 (25:15):
If you're passionate about it, you know, just listen
to listen to that passion insideand don't let people stop you.
I mean, you know, you just haveto keep pushing it, what you
want.
Um, you know, I discovered thatI wasn't that passionate about
being my own cinematographer andthat, you know, still
(25:37):
photography was more what I wasinterested in because on a
personal level, I like workingon my own where, you know, I
love the collaborative processof filmmaking.
Um, but you know, I like being apart of that, but not being the
sort of the lead in that, youknow, and it is.
(25:57):
So you just have to, you know,go with your gut and know, know
what you want, and don't beafraid to experiment too and try
and fail.
You know, I mean, most peopledon't succeed on their first try
of, you know, starting abusiness or, you know, their
first film isn't necessarilygoing to be a masterpiece, but,
(26:18):
um, practice makes perfect.
I mean, you have to work at it,give it a shot, don't say no to
opportunities.
You know, sometimes you mightthink that it's not worth your
time, but you generally willlearn something on everything
you do.
So, you know, say yes to helpingso-and-so out on their, on their
(26:40):
job or taking a job that mightnot, you know, exactly the way
you want to go, but you'llcertainly meet people and learn
a little bit more about what youdo.
Well, thank
Speaker 2 (26:50):
You so much.
That was inspiring.
I needed to hear some of that.
Speaking of a home, you'retalking about your home and I
just felt like we needed to makesure our listeners who live on a
boat when your husband live on aboat.
It's, um, it's a beautiful boatsand you're there all year.
Right.
(27:12):
I know we're kind of crazy.
Speaker 3 (27:16):
Yeah.
We've lived aboard for sevenyears and, um, just, uh, I don't
know, we like alternative livingand, uh, it's been a lot of fun
and we have no regrets and wecan't imagine living on land.
Um, yeah.
Um, and, uh, we did actuallystart a YouTube channel, um,
(27:39):
this, uh, past winter to, youknow, cause people ask us
questions all the time.
Um, so we thought, well, weshould just share that on video.
So, uh, if you're interested inthat it's water rethinking, uh,
is our YouTube channel.
So yeah.
Little little time.
Speaker 2 (27:57):
Yes.
Water you want, are you thinking
Speaker 3 (28:01):
Water?
We thinking CR so, yeah, I guessthere's a little bit of
filmmaking, although, um, myhusband, Kevin does most of the
work.
Um, so he works freelance.
So he, uh, it's, it's taken alot of times to, to constantly
be editing, editing videos andeverything, but it's, it's a lot
of fun to share what we'redoing.
(28:23):
Nice.
Speaker 2 (28:23):
Yeah.
And it's always good to havelike impersonal endeavors that
fill your cup in a differentway.
You know, like I've found thatto be the most important part of
being a filmmaker is like, Ihave enjoy your life.
You know, it's like really verysimple, but it's such an easy
thing to neglect or, you know,not check in was like gratitude
(28:46):
on.
Speaker 3 (28:46):
Yeah.
I mean, I guess on that note,you know, in a, and in parting
my infinite wisdom, um, youknow, it's just making sure that
you find balance, which is hardin this industry, especially if
you're working on set andworking 14, 16 hours in a day,
it can be really tough.
So you really have to check inwith yourself and find time for
(29:08):
yourself within that too.
Well, thank you so much.
This was, it
Speaker 2 (29:12):
Was so great.
Seeing your face again.
It's been a year, at least atleast a year.
So
Speaker 1 (29:19):
Thank you for having me.
Thanks for coming on.
Thanks so much for tuning in tothe walkie check.
Big thanks to noise floor LTD,our executive producer.
You can give us a follow on atthe walkie check as well as at
legacy Marine pictures.
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