twodogs603 said:
Those were the days before all of the OSHA flak over loud noises. They were also 58-watt speakers (on 45W amps), instead of 100W like today, so the sound wasn't as oppressive.
Info on the lights on "CHiPs" police motorcycles
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Those were the days before all of the OSHA flak over loud noises. They were also 58-watt speakers (on 45W amps), instead of 100W like today, so the sound wasn't as oppressive.
Mustang302 said:
They had some SERIOUS continuity issues on that show. Unlike "Adam-12," where Webb was fanatic about visual accuracy (and had the studio and LAPD backing him up on this), Rosner figured that if it was anything similar to what was described in the script, it was good enough. Part of this was because a lot of the time they were borrowing resources, and had to shoot around availability schedules. Also, this was a "lightweight" show, and didn't have the budget to maintain accuracy. If something was being serviced, they grabbed another one to shoot a scene, rather than "shooting around" the missing piece of equipment.
When CHP equipment changes came along, these were not usually reflected on "Chips."
stansdds said:
It has nothing to do with props -- it's the Transportation Coordinator ("Transpo"). Some are meticulous, some figure if it's got the right number and tires and the right color paint, it's good enough.
Some Transpos have an extensive stable of vehicles and accessories, while others use whatever is available from the studio shop when the call sheet arrives, which is mounted or dismounted as needed. The bar used when shooting on Monday (by the second unit) may be somewhere else on Thursday when they first unit shows the stars leaping out of the car. Or it might even be two different cars.
A production with a big budget, or who has a producer or Transpo with a lot of pull, will have equipment dedicated to that production company. Others use whatever they can rent.
The bottom line is that "It's Only A Movie!" Don't trust them to be accurate with ANYTHING, unless you know that they're spending the money to do so.
SoloRTP said:
A good friend of mine in L.A., Joe Ortiz, leases vintage emergency vehicles to the movie studios. I've seen pix of some of his fire trucks that might be red one day and yellow the next, depending on who's shooting what and where. He has a nice short-wheel-based '68 Buick ambulance that had belonged to Snyder Ambulance but was built here in Texas. I'd love to have that one. And he's got a cherry '62 Plymouth Belvedere Batt. Chief's car that I wouldn't mind having. He's told me numerous times about how they make changes in paint schemes, graphics, etc. I'd hate to be the one paying that bill. Joe is also the curator for the L.A. City Fire Dept. Museum.
Wailer said:
Right. It had the Super Chief in the center of the roof flanked by twin CP25 speakers. This ambulance and the two yellow and white high top Suburbans belonged to Snyder.
Skip Goulet said:
Do me a favor and ask him if he'd be interested in a 4WD 1986 Ford Class 1 ambulance (E350 gasser) with Braun aluminum box. Good condition, needs paint but still has all of the warning equipment except one side light module and a couple of wall strobes. I've got the carb out for a rebuild. It still has the original interior, total of about 44,000 actual miles (it was reserved for 4WD runs and last outs). I got it for a camper / radio MCP, but have too many toys and it's time to start trimming. $7500 as-is, stored at a friend's place in Reno NV.
SoloRTP said:
PM me with your contact info and I'll give him a call. I wouldn't mind that one myself, but it's beyond reach at the moment.