I like the control I have by using Snapbags and Snapgrids especially when time is limited. It means built-in diffusion and less flagging from the grips when we’re pressed to get a shot.
Nancy Schreiber, ASC Director of Photography
Snapgrids clip on in seconds and you get a narrow beam of soft light. It’s the best way to control the beam.
Markus Förderer, BVK Cinematographer
The sailsall arrived on time. We had a nervous few days waiting for the truss frames to be assembled for our sails. They fitted absolutely perfectly, congratulations on a job well done. Could not get better service or a better product anywhere, would recommend you guys to everyone. Please pass on my thanks and gratitude to Pat and the rest of your team. The set looks awesome surrounded in your sail cloth .
Craig Clark, Rigging Gaffer "Unbroken"
They’re not the only rag company out there, but they certainly seemed to be the only one at Cine Gear.
British Cinematography Magazine, July 2013
Hugo Cortina, Chief Lighting Technician, “Modern Family”
the first air freight shipment of blue screens yesterday. Have to say—The Rag Place rocks! Your standards of manufacture, pricing, packaging, documentation and speedy service are impressive. Thanks heaps to you and to your team.
Geoff Kelly, Production Crew
"The Great Gatsby"
I just wanted
to send a note thanking you and your team for taking such good care of me and my team. It’s not easy for me and my crew to look like we know what we’re doing, but with help from pros like you, we can feel confident in putting our best skills to the test! I know that whenever I call The Rag Place, I’ll hear “a smile” on the line and get help with whatever problem I’m trying to tackle. So thank you so much and I’m looking forward to working with you next year.
Billy Witherington, Key Grip
why anyone would use any other rag company is beyond me. As always, y’all rock!
Dan Mode, Operations Manager
DTC Lighting & Grip
For "Thor", the Asgard sets were constructed onstage at Raleigh Studios in Manhattan Beach. Running over the length of the set were 24’ x 8’ soft boxes lined with Ultrabounce® and fronted with Lite Grid provided by The Rag Place. Green screens also provided by The Rag Place.
More about the challenges in prep and
on set with the film production team here.
In creating the sensational rainstorm for "Shutter Island", Chris Centrella, key grip, employed four 40’ x 60’ Charcoal Vintage Grids from The Rag Place, which let some of the light through, was silent in the wind, and created a gloomy sky and a certain ambience.
Read more from director Martin Scorcese and the other filmmakers in detail here.
The two clippers for "The Gangs of New York" (top photo, left) were built on Cinecittà’s harbor/water tank set. A 30'x40' Rag Place Ultrabounce® was suspended between the two clippers from a 90-meter crane, and one of the lighting units employed was the giant softbox, designed by key grip J. Patrick Daily and gaffer Jim Tynes.
To facilitate ILM’s creation of a CG view
from the docks (bottom photo, left),
the crew positioned a 90' x 340' blue screen manufactured by The Rag Place and draped
over the wall behind the ships.
More design and production notes about this accomplished series of set pieces here.