Posted on

Quasar LED Lighting Tools to Rent or Buy

Quasar: one of over a thousand known extragalactic objects, starlike in appearance and having spectra with characteristically large redshifts, that are thought to be the most distant and most luminous objects in the universe.

Unfortunately, we don’t have “the most luminous objects in the universe” in our inventory but we do have a fleet of Quasar Science products available to rent and buy. Quasar offers a wide variety of LED lighting tools and many of them can be found right here at Rule Boston Camera.

Low profile, self ballasted, dimmer compatible, energy efficient, 95+ CRI, flicker free, 25,000 hour lifetime, and much more are just a few of the many features in the Quasar line-up of products.

We encourage you to stop by the shop, and check out these lights for yourself. We’ve got a bunch of new fixtures on the horizon for both rentals and sales in addition to what’s already in our rental inventory (Crossfade LED Kit, Kino Quasar 4ft/4 Bank Fixture) and in our Production Outfitters Expendables Store.

Another resource is our IN THE SHOWROOM video on the A-LED and Q-LED Crossfade lighting tools. Click here to watch, and reach out with questions.

Dylan Law, QC/Logistics & MoVI Tech

Posted on

First-time clients get 30% off your first rental during the month of September!

CONTENT CREATORS! Going back to work just got more exciting during the month of September. We are offering all first-time clients a 30% rental discount on your first rental during the month of September.

Whatever your project, we’re here to help. Our Rental Agents are here to gear you up with just the right audio, video, lighting and editing equipment for your most critical projects.

If you’re one of our regular customers, we’ve got something special for you, too.

Reach out to Rule Rentals by email or phone at 800-rule-com.

BtWHomePage

Posted on

Mixing Paint: The Phantom Flex4K

As with all of their products, Vision Research has created yet another high frame rate monster. Shooting RAW or ProRes, the Flex4K can crank all the way up to 938fps at true 4K — and almost 2,000fps in HD. With all that power under the hood, the question now becomes: What are we going to shoot?! It took us a while to come up with a subject that would do the camera justice. Eventually, we had it all planned out – we were going to see if mixing some paint with a huge speaker would produce some cool results. (It did.) First, we knew we needed light. Lots of light. The mid-day sun was our best bet, so we set up outside. To hold our subject, we set up a basic wooden platform, making sure to keep a wide enough base to catch any paint shrapnel. We hooked our speaker up to a receiver, and fed it various tones from an iPhone — apparently, yes, there is an app for this. With our stage set, we then turned to camera settings. We decided that shooting the true 4K image would be best – 4096 x 2304 at 938fps. If we had chosen a standard UHD 4K recording, we could have shot even faster. For paint, we went with a water based children’s finger paint – in hopes that maybe we could salvage the speaker, and our clothing. The water based paint would also mix better – a latex paint would mix slower, but may have looked cool as colors intertwined more. We’ll give that one a shot next time. We decided to shoot to the ProRes codec, rather than RAW, once we saw the image the camera gave in the standard rec709 color space. The final video color has not been graded in any way, all the footage is straight off the camera. While the RAW files are wonderful, and fantastic for grading – it can become somewhat burdensome with ever shrinking hard drive space. We found the colors to be awesome in the 709 gamma, and very reminiscent of ARRI. There is also the option for LOG. For glass, we chose the Angenieux 25-250, partly to keep our gear out of paint’s way – but also to take advantage of the beautiful lens compression you get on the long end. The focal plane wasn’t too shallow at T4, but the added compression at 100mm and above really brought the image alive. After the shoot, I loaded the ProRes files into Premiere, and we were exporting soon thereafter. For such a high data rate, specialized camera, the workflow all around was relatively simple. Watch the final results: https://vimeo.com/158513325   The Phantom Flex4K is available to rent here at Rule – come check it out! -Alex Enman, Engineer, enman@rule.com

Posted on

The Sony a7s: Full Frame, Low Light Monster

Once again, here we are with me talking about a new small camera that everyone in the indie shooting world seems to be going bananas over! Similarly to when the GH4 launched (of which you can read my latest blog post by clicking here) — there has been an extreme amount of chatter about this new Sony camera. Is it worth the hype? Upon launch, it was touted as the end-all-be-all of DSLR cameras (yes, I know it’s not technically a DSLR!), and a direct competitor to Panasonic’s GH4. Both cameras are mirrorless, seem to have more than a few nods to video users, and come in at a fairly affordable price point. After those features, however, the similarities stop. The two cameras are very different animals — both with their own strange strengths and weaknesses. Family Tree The a7s succeeds two other cameras in the Sony lineup that, at a glance, seem the same. The a7, and a7r. The design of these cameras comes from almost a rangefinder idea — a small, street photographers secret weapon. And for stills, no one was going to argue the quality. I’m sure even Fuji was taking notice. When it came to video, however, the quality and feature set wasn’t anything to write home about. While the a7r matched that of the 5dIII in most instances, Canon had already bundled up the market years ago. The a7s, though, has built upon this small form factor and has pushed the video feature set to its ends. It continues with the full-frame-sized sensor, but in this case it seems to be an entirely new chip. Low Light While I’m not in love with the form factor of this tiny camera (I’ve got big, dumb hands), the image quality is staggering. Particularly, with its low-light capabilities. The color and detail data it is able to pull from near total darkness at ISO’s of 20,000 and even 50,000 is unlike any camera I’ve ever seen, in any market or price range. This isn’t just a low-light camera, it’s a night-vision camera. Take a look at this great test from James Miller — that blue sky you see is actually a night sky. Those green bushes? Dark splotches to the human eye. SLOG 2 & Grading Now, we aren’t all nature photographers who need to see into the dead of night all the time — so upon getting the camera in my hands, my first tests were tried and true charts. I was overjoyed to see SLOG 2 and S-Gammut profiles included in the kit. This camera is cheaper than a 5dIII, but it’s now including a log profile that was at one time a paid upgrade to the F3 camera?! Count me in! I set up my chart, brought my middle grey down to 35%, and threw on my SLOG2 luts. You know, the ones I’ve been using for the past 4 years! And wouldn’t you know, it looked… terrible. What?! What happened? Why were my shadows so grainy and noisy? I thought this was a low-light monster! I couldn’t understand it. After some more research and testing, I figured it out. SLOG 2 on the a7s rates the native ISO of the sensor at 3200 ISO – as opposed to say 2000 on the fs700 and f5, or 1250 on the f55. As this is a different sensor, it is handling its color science differently. I found that it is so light sensitive, the sensor prefers to be fed LOTS of light – to the point of seemingly over-exposing the image. I found that middle grey likes to live around 75%, rather than 35%. As the camera only provides zebras and a meter internally for exposure help, it’s perhaps easiest to set your zebra level to 95% or 100%, and ride the high end until right before clipping. Bringing the color and gamma down works like a charm, and in no time I had the chart performance I had expected: So perhaps this isn’t the same old same old SLOG 2 I had assumed – but once I figured out the optimal settings, I was very impressed. The dynamic range on this camera is very high, around 14 actual usable stops. That gets into high-end cinema camera territory. 4K Recording & XAVC-S The last major feature of the a7s is the 4K external recording option. Now, first off, the a7s is using a brand new “consumer” version of the very popular XAVC codec. Internally, this high bitrate and smart compression is very malleable, especially for being at its base an h.264 MP4 file. It sports a very fiddly micro-HDMI port through which it will send 4K, 4:2:2 uncompressed video. The only thing headed to market soon that will handle this in a portable way will be the new Atomos Shogun – delivery date is still TBA. I find time and time again that users can get hung up on external recording solutions. One should always push their internal codecs as far as they can to see where the line in the sand is going to be drawn, and I find XAVC-S and SLOG 2 to be a 1-2 punch when it comes to color grading. Here is a very pretty video from vimeo user Florian Knab — check out how even the 120fps 720p looks great in a web delivery situation. Final Thoughts With SLOG 2, XAVC-S, a full-frame sensor, frightening low-light sensitivity, and an easily adaptable E-Mount – I think the a7s is a great addition to the indie market. I wish it were able to record 4K internally and high-speed above 60fps at 1080 like its mirrorless GH4 counterpart – but even without these features, it’s a pretty fantastic little camera. If you’d like to learn a bit more about the a7s, my post workflow, and other ways to get the most out of it, be sure to check out my Learning Lab here at Rule Boston Camera on 9/24 at 10am.  If you can’t make it in person, you’ll find it on our Learning Lab Vimeo Channel afterwards. -Alex Enman, Engineer, enman@rule.com

Posted on

The Concept of Ease in Filmmaking

In the place I am now, having recently graduated, looking/hoping/begging for work, and getting this internship and blog to learn from and play with, I feel privileged and prepared to go ahead and share a very quick reflection on a concept that I, and I’m sure countless others, have faithfully explored, willingly embraced, and so readily attempted to reject: ease. What follows are just some thoughts and ruminations, from an RBC intern, on the concept of ease in filmmaking. As I think and I ruminate, I am inspired by one of the coolest pieces of equipment I’ve been introduced to at Rule, the Kessler CineDrive: an amazing genius robot helper for all your pans, tilts, slides and more. Coming from a class of filmmakers rightfully obsessed with finding unique, professional, and visually stunning ways to capture the simplest and most complex of modern moments, the possibilities here, the ease with which we can achieve them, and the overall potential that the CineDrive represents are enormous! I’ve also been inspired by another one of the coolest pieces of equipment I’ve been presented with at Rule, the Arri 416 HS Plus 16mm film camera. It’s beautiful. I’ve gotten to experiment with 16mm film just one other very brief time in my life, and because of cameras like this, it sucks to think that the slowly dying “film” in “film school” could soon breathe it’s last breath. I’m very thankful that there are places that still have the resources to teach about film and encourage it to be used.  I don’t mean to say that shooting on film is at the other end of a spectrum, or that it’s necessarily hard, but it is kind of painstaking!  It’s also really different from what I and my generation has gotten used to. On shoots that I’ve been on and helped with, I always find myself wishing things could be a little easier, move faster, or become magically convenient. Hopefully, I’m not alone in this, but then I look at the crazy cardboard/tape/black wrap/diffusion thing in front of me and realize that ease is awesome, but so is hard work. The experience that has made me seriously crave the endless touch-ups and touchiest set-ups of each and every film set has been this internship. Knowing and learning about the tools to achieve ease, perfection — or dare I say both — has proven invaluable, making me that much more passionate about making movies. It’s also been really wonderful to be exposed to an evolution of filmmaking though RBC, because when I’m around people whose job it is to know the ins and outs of decades of equipment, it becomes fascinating to compare a modern marvel like the CineDrive, if it could be representative of the ease a filmmaker might, deep down, die for, to something like a 16mm film camera, if it could be representative of the perpetual fragility and exhaustion of filmmaking, as well as the amazing reward that results. Cat Haag, Summer 2014 Intern, intern@rule.com

Posted on

The Quest for Knowledge (aka Summer Intern Highlights so far)

It’s hard to think of something specific I’d like to say about the intern program at Rule. This is because I’ve gotten to do, see, and learn about tons of stuff in the really short time I’ve been here. I’m getting my hands on equipment I would, otherwise, have had to wait ages just to lay a finger on. I’m learning from some really promising and accomplished individuals about the scenes in Boston and New England, and getting to know names and faces. I’m navigating the streets of downtown with kits and cams in the back of the van, on our way to Boston film and videomaking offices I never even knew existed; and when we get there, people are really excited to see us. While it’s difficult to abstain from geeking out over being in the same vicinity as ARRI Alexa’s, Cooke lenses and all the amazing stuff that goes with them, I think I’ll say one of my favorite things about the internship so far is interacting with the folks who use this stuff, and seeing what everyone’s renting. One guy rented a bunch of lights and when I asked him how everything worked out, he gave me details about his set and his weekend shoot. It made my day! As an intern, I’m a little sponge – offer even the smallest amount of info or knowledge, and it’ll be well absorbed for future use. It’s one thing to soak in all the theories and reviews and instructional videos, but as a growing gear nerd, it makes all the difference to hold the stuff, figure it out and see how it works.  And as someone anxious to absorb, it’s really cool to invite all the rental drop-offers to tell me how their shoots went. I want to know what they’re doing and how they’re doing it, and I feel really encouraged as an intern to get them to tell me just a little bit about it. In the shop the other day, I got to learn about a Steadicam Zephyr which was gear-nerd-monumental because it’s a vital piece of equipment to filmmaking (especially now that I’m much more ready to operate my own one day).  And of course it’s just plain cool.

Interns Mike and Cat with QC's Kevin Bueschen
I’m really looking forward to continuing the quest for knowledge, and to sharing more and more stuff that I learn about – the Panasonics, the REDs, the MoVI– you name it. To me, though, every piece of equipment I touch at Rule is awesome and important, from the Sachtler to the Kino to the Steadicam, because eventually it’ll all come together to make something really inspiring for the sponges like me! Cat Haag, Summer 2014 Intern, intern@rule.com

Posted on

Get Your MoVI Moving: Part 2

That moment when the olive green Cinema Oxide case was placed by my desk will never be forgotten. What could be in there? Will this be life changing? What does all this mean? Long story short, by opening that case my life has changed drastically. I find myself thinking as a parent does for their child. However, my child’s name is a bit out of the norm. MoVI M10 has a nice ring, don’t you think? Like any relationship, there are highs and lows. The M10 and I have shared all of these moments from the early headaches at the shop to the winter sunset walks along the Charles River. As our relationship has grown over the past few months, I have learned to appreciate MoVI for what it can do for the entire production community. It is a true game-changer that provides new opportunities and ease. I have mentioned how easy the unit is to use, but I want you to take that with a grain of salt. There is a lot of time and effort that one needs to invest in order to initially understand how the M10 works and functions. It’s not as simple as taking it out of the box and starting to shoot right away. There are a few steps to remember in order to get optimal operation from the M10. Before any balancing starts to happen, you always want to make sure that your camera is completely built up. Have your lens, follow focus, transmitter, cables, etc., all squared away. Even the weight of the lens cap will make a difference. Once the M10 is powered on, you want to refrain from adding or subtracting any weight. Adding and subtracting weight will throw the balance off, thus resulting in the motors working harder than necessary. Once the camera is set, it’s time to start the balancing procedures. Pan, Tilt, and Roll will be your favorite three words after spending some time with the M10. These are the three axes that the M10 works upon. Your balancing will be done in conjunction with these motors and functions. At this point your camera is attached to the sled, and you are making fine adjustments to get your perfect balance. When you first start balancing the M10, you’ll want to channel all of your patience and take deep breaths. Sometimes the littlest adjustments will make all of the difference in a negative or positive way. Once you have spent enough time with the balancing process, it will start to become natural. Soon enough, you will have no problem swapping from a built-up Epic to a Blackmagic Pocket Camera. Well, what are you waiting for? Now is the time to experience the M10 and introduce it as part of your next production. Just remember to take the time and learn the ways of the MoVI before you get on set. This extra prep time will save you from a headache and a frustrated Director. Now Is The Time for The MoVI M10! -Dylan Law, QC Tech, law@rule.com JOIN RBC’S MIKE SUTTON AND DYLAN LAW FOR AN INTRO TO THE MOVI M10 LEARNING LAB ON WED., 2/26 FROM 10AM-12N.  RSVP: EVENTS@RULE.COM.

Posted on

Get Your MoVI Moving: Part 1

The buzz of excitement around the MoVI M10 by Freefly Systems is something for the record books. Every website is featuring articles on the M10, and test footage is being posted daily. I haven’t seen anything like it since the RED One was launched at NAB back in 2007. This three-axis brushless gimbal system really is a game changer in my opinion. After working with the unit for some time, I have gotten over the “hype” and started to realize the practicality of the unit and how it may start to change the way we think of putting a project together.

Dolly Track, Operators, Jibs, Cranes, and much more won’t be a thing of the past, but, if one is working on a budget, there is a solution now that will help to cut down on all of these costs.  Sure, it may cost a nice chunk of change to buy, but renting the M10 is a great option. Less bodies and gear on set has never been a bad thing. One MoVI Operator, One Focus Puller, One Remote Control Operator and a Director sounds like a great production day. It’s that simple, and you can create a look that would take days of pre-production and hours of assembly on set to achieve. When you go to playback that first shot, trust me, you will be blown away at what you just captured in such a minimal manner. After seeing what was possible with the M10, it was time to push it to the limits. Why not run with it at full speed and see what happens? Well, what happened was a shot that was so unbelievably smooth, I had to watch it three times! The footage was so much better than I expected. Then we received the Ninja Star Adapter.  At that point, I hadn’t heard much about what this would open up in terms of shooting with the MoVI. Boom!!! I grabbed the Porta-Jib and attached the MoVI to the Jib in an under-slung fashion, and it was time to rock. The results were hands-down the most responsive Remote Head I have ever worked with. Oh, and just to remind you all…it was Smoooooth!! The ten-pound load capacity that the M10 offers may scare one away at first. Fear not, you can achieve a very high level of production while using the unit for your project. Are you looking to work with the RED Epic? Consider it a done deal and with accessories. Let’s use a Wireless Follow Focus System with that Zeiss Superspeed, and, of course, you want to transmit to a Wireless Monitor as well. All of these high-level production needs are possible with just a bit of tinkering and patience. Oh, you say that you work with the Canon 5D MIII, Black Magic Cinema Camera, FS700, Canon C300, or C100? Not a problem in the least bit. All of these cameras will pair just perfectly with the MoVI M10, and the footage will be oh so smooooth!!!! -Dylan Law, QC Tech, law@rule.com JOIN RBC’S MIKE SUTTON AND DYLAN LAW FOR AN INTRO TO THE MOVI M10 LEARNING LAB ON WED., 2/26 FROM 10AM-12N.  RSVP: EVENTS@RULE.COM.

Posted on

And then the camera moves left…

How often when storyboarding your next project, do you plot in a camera move? I mean a major one, not just a tilt up or pan left. I know that in my own projects, it’s been a long time since I planned for a large move. Without an entire G&E department to support my projects or the budget for a Steadicam operator, I just want to keep everything as easy for myself as possible.  But I also know that by skipping this, I’m wasting a big part of the beauty of motion pictures. Now that I’m interning at Rule, I’ve had the chance to see a few options for camera moves that might be within reach for my own projects. In less than a month, I’ve seen jibs and a Steadicam rig, as well as two options that I think could really work for my next project… the Easy Jib by Grip Control and a Doorway Dolly. The first, the Easy Jib (as you may know if you’ve ever seen it before) is basically a large slider. This is the perfect tool for getting roughly a five foot move into your project. It’s long, but not very heavy, and doesn’t have a ton of add-ons, so you can easily get it into a third floor walk-up. You can put it on a table or a counter or on two stands or even on the floor for a nice low angle. It’s also easy to operate with only one person. Just a gentle hand to guide the glider and the other can pan or rack focus. The only real cons are the limited size and the fact that you really need an external monitor. It’s not easy to follow an eyepiece with this dolly. The other dolly, the Doorway Dolly, is another great option, albeit a much bigger, less easily transported one. But there’s no need to wrangle a bunch of track with this dolly. It has four reasonably quiet rubber tires and can hold a standard size tripod. As you can guess, though, you need at least two people to pull off any camera moves with this dolly. One person to drive and one person along for the ride to operate the camera. Additionally, I found that the steering, while relatively easy, is not an exact science. Without tracks to guarantee an exact mark, you could end up just to left or right of where you wanted to be. This could make for a focusing nightmare if you’re working in low-light, wide-open aperture situations. Overall, I like both of these options. Both get the camera moving around the room without a cumbersome track system and without much added to your gear list. They might seem slightly unromantic compared to other options that are out there, but sometimes all you need is a little utility to get the job done well! Happy filming! – Rachel Wiederhoeft, Fall 2013 Intern

Posted on

General Audio Kits

When working on a films, I’ve noticed that sound is typically the thing I’m least worried about. This isn’t because it is an easy, insignificant part of filmmaking, because it’s the exact opposite. Sound is a very important part of a film, and does just as hard of a job of telling a story and evoking feeling as story, acting, and cinematography. That is why I’ve come to acclimate myself with the various equipment used for recording sound. The first, and most important instrument in sound production is the Sound Device 702 recorder. This piece of equipment has two sound channels, XLR and BNC outputs, records to compact flash cards, and has easily navigable menus. On top of all this, it is made of a sturdy (albeit heavy) material that will prevent simple destruction or damages. The 702 recorder works well with the Sound Devices 302 mixer. Along with the recorder, the mixer is an extremely compact, portable, and ergonomic device. Its three channels are easily monitored and adjusted, requiring little time to learn. As for devices for gathering sound, I have found that there are numerous options. Obviously there is the array of dynamic and condenser microphones (cardioids, hyper-cardioids, omni-directional microphones, and so on). The latter are the typical “shotgun” microphones that are mounted on top of cameras, or found at the end of boom poles. They are the go-to microphones for filmmaking. For scenarios in which condenser microphones aren’t practical – such as for wide shots when boom poles risk being seen and camera microphones are too far for authentic sound – then there is a wireless alternative: lavalier microphones. Rather than looking for a ficus to hide a condenser microphone in, a lavalier microphone is wireless, and can be mounted and hidden on the actors and acquire usable sound. When I say usable sound, I mean sound that doesn’t quite come to par with condensers, but considering the situation, they get the job done. Many times filmmakers will gawk at the idea of using lavalier microphones because of a lav’s potentially inferior quality (especially when you have cats in the scene – they’ll play with the little bobbing microphone like a ball of yarn). However, the day will come when your boom pole will catch fire, and all you’ll have left are these bad boys. On the subject of wireless sound devices, there is an astoundingly useful tool for filmmakers to use behind the camera: the HME 800 or HME PRO 850. These are kits with 5 headsets with built-in microphones that are used like walkie-talkies (however, with many more batteries required). This intercom kit is so practical that its uses are near limitless. On set crew can communicate swiftly without running around; assistant directors can let a set know what the afternoon schedule looks like; and in a case where a shot requires multiple cameras with operators, a director of photography can give each one of them commands without any issues. The HME 800, and the HME PRO 850, are both quite intuitive devices and require very little time to learn and grow accustomed with. Even though they aren’t used for the creative part of filmmaking, “in front of the camera,” they are priceless assets for effective and efficient management on a set. This amalgamation of sound devices each has their own strengths and weaknesses. The benefit with having each of these items on your film set provides you with options, and options create flexibility, and flexibility leads to efficiency. -Kyle Huemme, Fall 2013 Intern, Curry College