Thank you for putting it so well! That's exactly how I learned in college and of union sets (the crates, the coilint, the cable ties, the colors). It's always funny to run on Indy shoots and some green DP telling me stingers are over and under. And I start to question my own knowledge regardless of years of experience. But I am right and been doing over/over for stingers for years. Now XLR microphone cables is over and under. And it takes short practice to remember that method.
So happy you are addressing and re-enforcing over-over method. I'm dumbfounded how many "experienced" crew keep on thinking that over-under is the 'proper" way for stingers, and will even argue with me when I ask them to do over-over when working with my gear / Sprinter. Worst is when I am tempted to ask my "boss", the DP, who proudly exhibits his over-under skills, wrapping my stingers, but I hold back, not wanting to undermine being asked to work with them again. Recently I was gaffer and provided most lighting and grip to a small feature, and due to an accident breaking my foot on set, I was not able to be there for final pack. They packed the cable with mud on them, and in trying to clean them, I had to undo the tangle that happened from over-under, and rewrap dozens of stingers, which took several times longer than just wrapping it properly to begin with. Also amazed how many crew say they were "taught" to wrap stingers over-under in school or while learning on sets.
The key wording is: so that it's not fighting itself. If that means going under after going over. That's okay. For the most part if it's an untwisted cord then over over will be fine. This is the third or fourth video I've watched on the topic. Another one use the wording; keep it from becoming twisted. I described it as: not having tension on or within the cord. I hope this helps when you're teaching others in the future.
People need to stop treating "DPs" as gods. A real DP knows they are not the authority of everything on a working set. This is especially the case today when that term gets adopted straight out of communications school. You dont want your DP wrapping cable for another reason. You want to work again. You dont want the producers who hired the DP to see him/her doing anything other then being the DP. No manual labor other then maybe operating camera. The DP needs to be one of them not one of you. On a real show I wont let the gaffer help wrap. Again they need to see the gaffer as one of them. They get hired again and you get hired again. "Thank you but you have busted your butt all day figuring out what we are doing while we were at crafty. Go decompress Its our turn."
Couple of tips: Its "clockwise." use white cable ties. Its easier to count in the dark. The cable tie goes on the female end. You can often use the cable tie to secure the working end off the ground like on a menace arm. Use cable ties long enough to wrap around the cable twice. It will stay tied longer. This is usually about the length from your hand to your opposite shoulder. Secure the cable tie with a rolling clove hitch. Using electrical tape anywhere on the cable will eventually lead to a gooey mess. Friction tape is the traditional tape used to secure the knot. I use heat shrink to identify length. Yes you should be able to tell how long it is without indicators but anything that helps after long hours and poor visibility helps.
I agree with some of your points, others personal preference. Clockwise = righty righty. No different. I like black ties for not showing dirt as quick. I like ties on both ends. I think the wrap comes together cleaner. I use the male end tie more often as a strain relief to generator handles, conduit, etc. Haven’t had any issues with glue from the E Tape but I’ll consider friction tape for the next crate I make up. Glad to see others sharing tips and helping out 🙏
I run over under for everything, old habit from my years in theater where it was mostly XLR or stagepin. I really like the Leviton light up connectors for my stingers. quick way to know both ends are hot.
I was told if it transmits Data or is Coaxial than it goes over-under. and yes, over over on film sets, and start from the male end when you can so you dont drag the male end and scratch/damage location or your stingers
When I’m wrapping Dmx cable on set I always ask whoever’s cable it is how they like it wrapped. I feel like the answer is most often over-over. 🤷♂️ I feel in that case however the owner wants it is the right way.
I like #8 sash- it’s just cheap cotton rope. I attach it with a clove hitch and then I secure it with colored electrical tape. Yellow for 25’, red for 50’ is my system.
For more delicate cables like bnc and dmx, it is easier on the inner wires. Heavy duty cables like these don’t need that extra caution. Every time I do an AV job their 12/3 stingers are wrapped over/under. It’s a difference of standards between industries.
@@PancakeLighting Ive been chewed to death about this subject. Another has told me its because if you think about how that cable was constructed and how it was packaged, the cables come off of a spool, so really you are trying to help keep the cables natural curve which help the cable stay in good condition. Over under (as much as I love that more) twist and turn the copper on the inside so the cable starts to twist and bunch up which can eventually lead to breaks. So its a matter of keeping the cables in good condition, which means more rentals over the lifetime of the cable. Just wanted to share what ive learned. Nice vid Logan
I’m from the stills world, and we’ve mostly been told Over-Under too. Cables seems to lay flatter, and splay out easier when over-under. Granted, my experience with over-over is limited- I wonder if they have the same benefits (usability wise) that over-under does? Can you simply plug in at the wall, lay the coil down on the ground and walk the end across the room? Or do you end up with a mess / a bunch of trip hazards? Do you end up having to twist the cable a few times to make it lay flat?
Usually we would drop the coil at the bottom of the light and walk the plug over to the outlet because we want to have the extra near the light in case we need to move it again- you’re just pulling cable from the top of your pike and not dragging the whole cable across set. When I built my stingers and the cable was new it needed to be twisted a few times to lay flat. As they’ve gotten worn in they mostly lay flat as they are uncoiled. It doesn’t bunch up in a mess if it’s coiled neatly.
Thank you for putting it so well! That's exactly how I learned in college and of union sets (the crates, the coilint, the cable ties, the colors). It's always funny to run on Indy shoots and some green DP telling me stingers are over and under. And I start to question my own knowledge regardless of years of experience. But I am right and been doing over/over for stingers for years.
Now XLR microphone cables is over and under. And it takes short practice to remember that method.
Man, I could watch you coil cables all day! That was oddly relaxing 😅
You got it! For a day rate and a plane ticket I can coil cables all day 😂😂
So happy you are addressing and re-enforcing over-over method. I'm dumbfounded how many "experienced" crew keep on thinking that over-under is the 'proper" way for stingers, and will even argue with me when I ask them to do over-over when working with my gear / Sprinter. Worst is when I am tempted to ask my "boss", the DP, who proudly exhibits his over-under skills, wrapping my stingers, but I hold back, not wanting to undermine being asked to work with them again. Recently I was gaffer and provided most lighting and grip to a small feature, and due to an accident breaking my foot on set, I was not able to be there for final pack. They packed the cable with mud on them, and in trying to clean them, I had to undo the tangle that happened from over-under, and rewrap dozens of stingers, which took several times longer than just wrapping it properly to begin with. Also amazed how many crew say they were "taught" to wrap stingers over-under in school or while learning on sets.
The key wording is: so that it's not fighting itself. If that means going under after going over. That's okay. For the most part if it's an untwisted cord then over over will be fine. This is the third or fourth video I've watched on the topic. Another one use the wording; keep it from becoming twisted. I described it as: not having tension on or within the cord. I hope this helps when you're teaching others in the future.
People need to stop treating "DPs" as gods. A real DP knows they are not the authority of everything on a working set. This is especially the case today when that term gets adopted straight out of communications school. You dont want your DP wrapping cable for another reason. You want to work again. You dont want the producers who hired the DP to see him/her doing anything other then being the DP. No manual labor other then maybe operating camera. The DP needs to be one of them not one of you. On a real show I wont let the gaffer help wrap. Again they need to see the gaffer as one of them. They get hired again and you get hired again. "Thank you but you have busted your butt all day figuring out what we are doing while we were at crafty. Go decompress Its our turn."
Thanks for the love, sir! You are a scholar and a gentleman :)
Couple of tips: Its "clockwise." use white cable ties. Its easier to count in the dark. The cable tie goes on the female end. You can often use the cable tie to secure the working end off the ground like on a menace arm. Use cable ties long enough to wrap around the cable twice. It will stay tied longer. This is usually about the length from your hand to your opposite shoulder. Secure the cable tie with a rolling clove hitch. Using electrical tape anywhere on the cable will eventually lead to a gooey mess. Friction tape is the traditional tape used to secure the knot. I use heat shrink to identify length. Yes you should be able to tell how long it is without indicators but anything that helps after long hours and poor visibility helps.
I agree with some of your points, others personal preference. Clockwise = righty righty. No different. I like black ties for not showing dirt as quick. I like ties on both ends. I think the wrap comes together cleaner. I use the male end tie more often as a strain relief to generator handles, conduit, etc. Haven’t had any issues with glue from the E Tape but I’ll consider friction tape for the next crate I make up. Glad to see others sharing tips and helping out 🙏
I run over under for everything, old habit from my years in theater where it was mostly XLR or stagepin. I really like the Leviton light up connectors for my stingers. quick way to know both ends are hot.
I do like those light up connectors!
I was told if it transmits Data or is Coaxial than it goes over-under. and yes, over over on film sets, and start from the male end when you can so you dont drag the male end and scratch/damage location or your stingers
When I’m wrapping Dmx cable on set I always ask whoever’s cable it is how they like it wrapped. I feel like the answer is most often over-over. 🤷♂️ I feel in that case however the owner wants it is the right way.
Glad someone finally made a good video on this. Lots of misinfo out there
Thank you Landon! Appreciate the feedback
Sweet! wish I woulda had a video like this when I was starting out!
Thanks Alex! I’m taking content ideas- what else do you wish you’d have known?
Great Information. Thanks.
You’re welcome! Appreciate the comment
Nice
Thanks!
What material do you use for the tie cord? And how is it attached. Also do you just use gaffing tape to color code your cable?
I like #8 sash- it’s just cheap cotton rope. I attach it with a clove hitch and then I secure it with colored electrical tape. Yellow for 25’, red for 50’ is my system.
@@PancakeLighting Thank you for the info.
@@poucedeleon cheers!
I call them Edison cables or just plain power cables.
Never seen a film set without plenty of “stingers” on hand.
What do you use for color coding? Is that electrical tape?
Yes indeed, colored E tape. Yellow for 25’ Red for 50’
What is the benefit of wrapping over-over rather than over-under?
For more delicate cables like bnc and dmx, it is easier on the inner wires. Heavy duty cables like these don’t need that extra caution.
Every time I do an AV job their 12/3 stingers are wrapped over/under. It’s a difference of standards between industries.
@@PancakeLighting Ive been chewed to death about this subject. Another has told me its because if you think about how that cable was constructed and how it was packaged, the cables come off of a spool, so really you are trying to help keep the cables natural curve which help the cable stay in good condition. Over under (as much as I love that more) twist and turn the copper on the inside so the cable starts to twist and bunch up which can eventually lead to breaks. So its a matter of keeping the cables in good condition, which means more rentals over the lifetime of the cable. Just wanted to share what ive learned. Nice vid Logan
@@GripTips Touche! Thanks Dave that is a much better reason than "This is the industry standard" Thanks for sharing and helping us all learn!
I’m from the stills world, and we’ve mostly been told Over-Under too. Cables seems to lay flatter, and splay out easier when over-under.
Granted, my experience with over-over is limited- I wonder if they have the same benefits (usability wise) that over-under does? Can you simply plug in at the wall, lay the coil down on the ground and walk the end across the room? Or do you end up with a mess / a bunch of trip hazards? Do you end up having to twist the cable a few times to make it lay flat?
Usually we would drop the coil at the bottom of the light and walk the plug over to the outlet because we want to have the extra near the light in case we need to move it again- you’re just pulling cable from the top of your pike and not dragging the whole cable across set.
When I built my stingers and the cable was new it needed to be twisted a few times to lay flat. As they’ve gotten worn in they mostly lay flat as they are uncoiled. It doesn’t bunch up in a mess if it’s coiled neatly.
I worked with some NY 52 electrics and they called them singles. Haha
Ive heard about this phenomenon and I find it quite interesting!