Project bts
Project bts
Title:
Title:
Camera Rigs to Objects
Music Video
Music Video
Music Video
Music Video
about the project
Bunch of object camera rigs on this job. Directors Jordan and Nicholas Aucella always give us a fun challenge when they come into town.
The main request was to rig this yellow pair of sunglasses to the camera. They wanted people to be able to pass them around, put them on and take them off. Connor Colby and I conceptualized a few ideas before the shoot and played around with 3D printing some sort of clamp on adaptor for 3/8 rods. Everything seemed like it would work when we tried it in prep but once we knocked off a shot on the shoot day the rig just fell apart. It was way too bulky and didn’t have the right clamping pressure and overall strength. Luckily I brought a backup solution. We instead used 3/8” armature wire and taped it right to the sides. Only thing visible from the front was the armature wire running to the sides of the glasses. The wire went back to mounting points on the camera rig.
We ended up iterating on this method down the road for a different job and I think we came up with a pretty good glasses rig solution.
Camera Rigging
Behind the Scenes
Project role
Key Grip
built with
Armature Wire, Cheeseplates, 3/8” Rods, Baby Pins
by:
Brendan Riel
similar posts
similar posts
rig breakdown
20x20 Flyswatter
by:
Brendan Riel
My standard swatter built. Triangle truss with 1 steel. 8’ verticals for the goalpost with a 5’ horizontal. Wigs from the bucket to the tri truss. Kickers on the goalpost. 20’ kickers from the goalpost to the 20x20 frame. 2x belly lines to finish it off.
rig breakdown
20x20 Flyswatter
by:
Brendan Riel
My standard swatter built. Triangle truss with 1 steel. 8’ verticals for the goalpost with a 5’ horizontal. Wigs from the bucket to the tri truss. Kickers on the goalpost. 20’ kickers from the goalpost to the 20x20 frame. 2x belly lines to finish it off.
rig breakdown
20x20 Flyswatter
by:
Brendan Riel
My standard swatter built. Triangle truss with 1 steel. 8’ verticals for the goalpost with a 5’ horizontal. Wigs from the bucket to the tri truss. Kickers on the goalpost. 20’ kickers from the goalpost to the 20x20 frame. 2x belly lines to finish it off.
rig breakdown
20x20 Flyswatter
by:
Brendan Riel
My standard swatter built. Triangle truss with 1 steel. 8’ verticals for the goalpost with a 5’ horizontal. Wigs from the bucket to the tri truss. Kickers on the goalpost. 20’ kickers from the goalpost to the 20x20 frame. 2x belly lines to finish it off.
rig breakdown
ModX Rolling Soft Toplight
by:
Brendan Riel
We built this mobile toplight softbox using 6" ModX truss to serve four different sets inside a tight studio space with limited overhead clearance. The goal was to keep costs down and avoid building duplicate overhead rigs or ground units for each set. So, we designed a rolling, double-layered softbox that could easily move from set to set—and double as an in-frame ceiling piece when needed.
The structure measured 14’x14’ OD and held two 12x12 frames: one with 1/2 grid and one with bleached muslin. The bleached muz was rigged with a pulley system, allowing us to raise or drop the rag when we needed to bring it into the scene as a ceiling element. We punched LiteTile through both rags for soft, consistent coverage.
For mobility, we mounted the whole rig on C&C Studio Services tri-casters.
rig breakdown
ModX Rolling Soft Toplight
by:
Brendan Riel
We built this mobile toplight softbox using 6" ModX truss to serve four different sets inside a tight studio space with limited overhead clearance. The goal was to keep costs down and avoid building duplicate overhead rigs or ground units for each set. So, we designed a rolling, double-layered softbox that could easily move from set to set—and double as an in-frame ceiling piece when needed.
The structure measured 14’x14’ OD and held two 12x12 frames: one with 1/2 grid and one with bleached muslin. The bleached muz was rigged with a pulley system, allowing us to raise or drop the rag when we needed to bring it into the scene as a ceiling element. We punched LiteTile through both rags for soft, consistent coverage.
For mobility, we mounted the whole rig on C&C Studio Services tri-casters.
rig breakdown
ModX Rolling Soft Toplight
by:
Brendan Riel
We built this mobile toplight softbox using 6" ModX truss to serve four different sets inside a tight studio space with limited overhead clearance. The goal was to keep costs down and avoid building duplicate overhead rigs or ground units for each set. So, we designed a rolling, double-layered softbox that could easily move from set to set—and double as an in-frame ceiling piece when needed.
The structure measured 14’x14’ OD and held two 12x12 frames: one with 1/2 grid and one with bleached muslin. The bleached muz was rigged with a pulley system, allowing us to raise or drop the rag when we needed to bring it into the scene as a ceiling element. We punched LiteTile through both rags for soft, consistent coverage.
For mobility, we mounted the whole rig on C&C Studio Services tri-casters.
rig breakdown
ModX Rolling Soft Toplight
by:
Brendan Riel
We built this mobile toplight softbox using 6" ModX truss to serve four different sets inside a tight studio space with limited overhead clearance. The goal was to keep costs down and avoid building duplicate overhead rigs or ground units for each set. So, we designed a rolling, double-layered softbox that could easily move from set to set—and double as an in-frame ceiling piece when needed.
The structure measured 14’x14’ OD and held two 12x12 frames: one with 1/2 grid and one with bleached muslin. The bleached muz was rigged with a pulley system, allowing us to raise or drop the rag when we needed to bring it into the scene as a ceiling element. We punched LiteTile through both rags for soft, consistent coverage.
For mobility, we mounted the whole rig on C&C Studio Services tri-casters.
project BTS
Seamless Muslin Softbox
by:
Brendan Riel
8’x25’x4’ seamless bleached muslin softbox provided most of our soft top daylight ambiance for this spot. ModX top frame with pipe bottom frame. We wrapped the bottom pipe with plastic to protect the muslin from dirt. Seamless was important for car reflections. We baffled the inside of the box with 1/4 grid for added softness.
We helped art hang an 18’ tall 60’ length translight with some truss and motors. Went motors down so we wouldn’t have to run too much cable and picked to beams above with beam clamps.
We planned on doing everything with truss and motors but had to cut some because of budgetary reasons. So we went old fashioned with 2 runs of ladder truss, pipe and pulleys for more lighting points. The pulleys just served as line redirects and provided no mechanical advantage.
project BTS
Seamless Muslin Softbox
by:
Brendan Riel
8’x25’x4’ seamless bleached muslin softbox provided most of our soft top daylight ambiance for this spot. ModX top frame with pipe bottom frame. We wrapped the bottom pipe with plastic to protect the muslin from dirt. Seamless was important for car reflections. We baffled the inside of the box with 1/4 grid for added softness.
We helped art hang an 18’ tall 60’ length translight with some truss and motors. Went motors down so we wouldn’t have to run too much cable and picked to beams above with beam clamps.
We planned on doing everything with truss and motors but had to cut some because of budgetary reasons. So we went old fashioned with 2 runs of ladder truss, pipe and pulleys for more lighting points. The pulleys just served as line redirects and provided no mechanical advantage.
project BTS
Seamless Muslin Softbox
by:
Brendan Riel
8’x25’x4’ seamless bleached muslin softbox provided most of our soft top daylight ambiance for this spot. ModX top frame with pipe bottom frame. We wrapped the bottom pipe with plastic to protect the muslin from dirt. Seamless was important for car reflections. We baffled the inside of the box with 1/4 grid for added softness.
We helped art hang an 18’ tall 60’ length translight with some truss and motors. Went motors down so we wouldn’t have to run too much cable and picked to beams above with beam clamps.
We planned on doing everything with truss and motors but had to cut some because of budgetary reasons. So we went old fashioned with 2 runs of ladder truss, pipe and pulleys for more lighting points. The pulleys just served as line redirects and provided no mechanical advantage.
project BTS
Seamless Muslin Softbox
by:
Brendan Riel
8’x25’x4’ seamless bleached muslin softbox provided most of our soft top daylight ambiance for this spot. ModX top frame with pipe bottom frame. We wrapped the bottom pipe with plastic to protect the muslin from dirt. Seamless was important for car reflections. We baffled the inside of the box with 1/4 grid for added softness.
We helped art hang an 18’ tall 60’ length translight with some truss and motors. Went motors down so we wouldn’t have to run too much cable and picked to beams above with beam clamps.
We planned on doing everything with truss and motors but had to cut some because of budgetary reasons. So we went old fashioned with 2 runs of ladder truss, pipe and pulleys for more lighting points. The pulleys just served as line redirects and provided no mechanical advantage.
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legacy grip
We demonstrate unique rigs &
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we Are
legacy grip
We demonstrate unique rigs &
practical solutions in the world of gripping.
play video
we Are
legacy grip
We demonstrate unique rigs &
practical solutions in the world of gripping.
play video
we Are
legacy grip
We demonstrate unique rigs &
practical solutions in the world of gripping.
play video
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Legacy Grip 2025 All Rights Reserved
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Legacy Grip 2025 All Rights Reserved
By subscribing you agree to with our privacy policy and provide consent to receive updates from our company.
Legacy Grip 2025 All Rights Reserved
By subscribing you agree to with our privacy policy and provide consent to receive updates from our company.
Legacy Grip 2025 All Rights Reserved