Several years ago, key grip Richard Mall found himself in an interesting position. Cinematographer David Tattersall needed light in the lobby of Graumann’s Chinese Theater for a shot in The Majestic, but Mall and gaffer Mark Vuille were not allowed to attach anything to the walls. Enter what Mall and Matthews Studio Grip dubbed MAX
“When I first joined the company, it was like a little clubhouse,” recalls Ed Phillips, President and CEO of Matthews Studio Equipment. “Legendary grips would hang around the shop discussing the different projects they were working on and the tools they needed to accomplish their jobs.” At that time, grip equipment was built by each
Click here to go to the Videomaker Website to view their favorable review of our new M25 Tripod.
The Die Hard films are renowned for their non-stop action and complex sets. That’s why, for the newest installment of the Bruce Willis action feature, gaffer Jeff Murrell relies on Matthews Studio Equipment’s MAX and MINI MAX light movers to get his lights in tight places or keep them out of the way of the
The November 13, 2005 issue of The New York Times Magazine featured a cover image of a Matthews Super Crank O Vator in a photograph by Los Angeles based photographer Dan Winters. The image was used to highlight a story titled “Iraqi Back Lot” that concerned the California filming of the F/X series “Over There.”