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Kessler Killshock Isolator System Keeps Motion in Check

Camera shake and vibration are quickly becoming a thing of the past. From car rigs to crane shots, movement is getting smoother and easier. The Killshock from Kessler is a great addition to our inventory and a nice option if you are not on a Flowcine Black Arm budget.

Endless mounting points for the Killshock make for easy rigging in any situation. Payloads can range from all sizes/builds with a quick swap of the Shock Modules. Mounting a gimbal is a very nice option, adding more stability and head control. The Killshock makes for a great addition to dolly work by adding that next level of vibration cancellation.

Watch the BTS footage here.

Quick set-ups make for better production! The Killshock is a great tool to have at your disposal for your next production.

-Dylan Law, QC/Logistics & MoVI Tech

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The New Feature-Rich Cinevate Horizen Sliders

You cannot reinvent the wheel, but Cinevate tried to do just that with the new Horizen Slider series. Cinevate states “We combined your feedback with our 13 years of manufacturing expertise to create our most intensively designed product, ever.”

At first I was skeptical because what can you really modify on a slider to make that much of a drastic change? I soon found out — a lot. The major feature that separates this slider from any other is the newly designed adjustable resistance control. This system actually runs off of a magnet which creates a completely silent, fluidic operation.

When first using the Horizen I noticed this right away. My biggest problem with sliders is adjusting the tension because you can never get it just right. The camera never seems to glide seamlessly unless you are controlling the slider with a motion controller, which can be easily integrated when using this slider. Since the resistance control is now magnetic, you will never have to deal with this problem again.

Besides being the best feeling slider I have used, the Horizen comes with a whole bunch of other awesome features. It natively supports both 100mm and 75mm ball heads. It also has multiple ways to mount it, whether it be on a tripod with its new center mount or with two stands on both sides. If you want to ditch the stands and go lightweight, there are quick-stow, all-terrain legs that come attached with it. This slider is also filled with a ton of mounting options for accessories like monitors.

With a payload of 100 pounds and the option of 3 or 5 feet, the Cinevate Horizen slider is ready for whatever your situation may call for. Click here for product details on the 3-foot slider and here for the 5-foot slider — both are available to rent. See what you think and let us know.

-Alex Lopez, Quality Control Technician

 

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STAY STEADY IN AUGUST with 25% Off Key Gimbal Stabilizers

Stay steady and capture great shots while in motion with our August Stabilization Special! Rent any or all of these gimbal stabilizers at 25% off:

 

FreeFly MōVI Pro 3-Axis Digital Stabilized Camera GimbalFreefly MōVI Pro
The MōVI Pro steadies cameras weighing up to 15 pounds. Hot swappable intelligent batteries power the MōVI Pro, camera, and all accessories to keep you shooting all day long.

 

DJI Ronin 2

The Ronin 2 is equipped to handle DSLRs to Alexa Mini’s without breaking a sweat. Its high torque motors support a wider range of cameras.

 

Zhiyun Tech Crane 3 LAB
Crane 3 LAB is integrated with wireless FHD image transmission, focus and zoom control, touch control and all-inclusive control panel.

 

 

Zhiyun Tech Crane 2
Crane 2 supports DSLRs, mirrorless cameras, and camcorders weighing up to 7 pounds.

 

 

 

Manfrotto Fig Rig Manfrotto Fig Rig
The Fig Rig’s circular frame with crossbar mounts most mini DV cameras to produce smooth, steady traveling shots.

 

 

Contact Rentals by email or phone at 800-rule-com for more details.
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LiteMat+ Plus 8: Large, Soft, and Light

LiteGear has taken a stronghold in our rental inventory and the LiteMat+ Plus 8 is a great new option for any job. LiteGear stands out with their low-profile design and incredibly soft and color-accurate light. Mounting their products is a dream come true for any DP/gaffer/grip. The LiteMat+ Plus 8 has all these features and packs a serious punch when it comes to output.

The form factor of this light makes for a great, large source and minimizes the amount of lights you may need for your setup. I had a chance to work with the +8 the other day and it was the perfect fixture for the job. It was as easy as putting on the SnapGrid and tossing the light up into the ceiling.

If you’re a fan of LiteGear or interested in trying a new light with a large source — this is the one!

Dylan Law, QC/Logistics & MoVI Tech
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Meet the Extraordinary Zeiss Otus Lenses

What does the perfect lens look like? Is there even such a thing? We have a lot of philosophical lens conversations here at Rule. We’ve always had an affinity for vintage glass, and all the gritty imperfections that come with them. There are, however, plenty of shooting scenarios where a vintage look isn’t appropriate. Those modern, cutting edge, sharp-as-a-tack shoots. We’ve always had sharp glass, but the Zeiss Otus Primes (avail in 28mm, 55mm, 85mm) are a cut above.

As we work within the film and photography world when it comes to glass, there has always been a clear division between the two. Lenses that were very sharp, but not suited for on set use. Lenses that were geared and friendly for all our film accessories, but weren’t really that crisp — and if they could be both, they were pretty pricey. In this way, the Zeiss Otus series is a bridge between worlds. An expensive stills lens, and an affordable cine lens. Whichever way you decide to group them, the fact of the matter remains – this is extraordinary glass. 

The Zeiss Otus series was designed over a 3-year period, deep in the underground Zeiss bunker — somewhere, I assume, in the Alps. Zeiss made one thing clear upon announcing their new “affordable” lenses — they would not be compromising quality, in any regard. Did you know there are 6 elements in the construction of these lenses that are more valuable than gold? Vibranium unconfirmed. The body is a beautiful machined metal, and the overall feeling one has when shooting with them is a profound sense of modernity. These are the lenses of right now, and they’re great. 

Using these, I’ve found myself saying things like “Wow, the GH5 looks great!” “Wow, this FS7 looks great!” It took a second to realize that this lens is just a very nice addition to any camera. We can get into the weeds all day long about sensors, debayer patterns, relative sharpness, crispening — but at the end of the day, it comes down to the thing you put on the front of the camera. They are, on one hand, larger than every stills lens I’ve ever used or even heard of, which can be a bit of a bummer for compact shooters. They are no bigger than a Canon 24-70, though, and the weight trade-off is certainly warranted. Speed is also a consideration, as our 28mm, 55mm, and 85mm are all f1.4. While some lenses can achieve an f1.2, I find that to be an aperture I seldom use. I’ll trade a stop for the improved performance, no questions asked. 

In addition to freakish clarity, the Otus primes handle chromatic aberration with ease. Edges I found ringed with purple with my Canon L series glass were made pure and clean with the Otus. Even the edges of frame are well-defined and are not only very sharp, but match the sharpness of the entire frame. They are extremely reliable in their projected image, and certainly deliver on the promise Zeiss made — they’re the new standard. 

For me, I’m finding them to perform as a budget-friendly option to the Zeiss Supremes – and that’s an enormous credential to boast. So, if you’re looking for the Lens of The Future (or, perhaps, today), give rentals a call (or click here to email), and come check these things out!

– Alex Enman, Engineer

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Rent the Sony VENICE Digital Cinema Camera at 25% off in July

Rent the Sony VENICE Digital Cinema Camera at 25% off in July! Each month, we offer a special rental rate on equipment we think you’ll love. This month, we’re offering the Sony VENICE at 25% off the regular rate of $1,300.

The VENICE is equipped with a newly developed, full-frame image sensor, phenomenal color science, and a user-friendly design with clear and simple menu navigation. With the wide latitude and gamut recorded by the VENICE, freedom of expression is significantly expanded in grading and based on established workflow. Click here for product page and rental rate.

Contact RENTALS by email or phone at 800-rule-com for availability, details, and to book.

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Meet the Angenieux Optimo Ultra 12x Multi-Format Monster

As dependable as ever, Angenieux has released another perfect lens. The Optimo Ultra 12x cine zoom is really the next bar to measure other zoom lenses against. This time, they’ve created a multi-format monster that can cover 3 sensor sizes — including the new and exciting Full-Frame format that is on track to be this year’s summer jam.

As the format can change, the zoom range also changes slightly in regards to which lens element you’ve chosen. The options are for standard Super 35, Ultra 35 — a format created for S35+ formats like ARRI Open Gate, Sony Venice 5.7K 16:9, 6K RED Dragon, 8K RED Helium — and Full-Frame/Vista Vision targeted at large format cameras like the ARRI ALEXA LF, RED Monstro, RED 8K Vista Vision, and Sony Venice Full-Frame 6K.

The zoom ranges break down into these groups, and you’ll see that change in speed as well:

  • S35 [31.6mm] 24-290mm T2.8
  • U35 [34.6mm] 26-320mm T3.1
  • FF/VV [46.3mm] 36-435mm T4.2

Tests below are from the Sony Venice at 5.7K 16:9, with the Ultra35 format.

26mm [note the vingette is only visible in the “look around” setting at 16:9, and is not recorded].

 

320mm

This flexibility in format is exactly what rental houses are looking for — a lens that you can depend on, and that can change to fit your format needs from job-to-job. Just let your Rental Agent know which camera you’re using, and we can make sure it matches up.

The build quality is exactly what’s to be expected from the Optimo line-up, which is a visually near-perfect parfocal zoom that is very pretty, very heavy, and very expensive. No, this lens won’t be the everyday shooter’s go-to, but commercial and episodic productions will certainly get use out of this artillery-style zoom. With the 12x range, this isn’t something that’s meant to be taken off the camera that often. It’s your “on sticks, workhorse zoom”, just like the previous 24-290 models.

What excited me most about this lens is the Ultra 35 option. Yes, S35 is the standard, and, yes, Full-Frame sure is the cool, new kid on the block; but so many cameras have odd, non-standard sensor sizes. Having a lens that works well, specifically for Venice 5.7K, RED Helium 8K, and ARRI Open Gate is pretty phenomenal. Of course, designing a lens just for these odd sizes would be insane, which is where the flexibility of the multi-format option saves the day. I don’t know what the future will hold for imager sizes, but I do know that this lens will probably fit them.

More good news: You can take this lens for a spin at a 25% off in June. Just contact Rentals for details.

– Alex Enman, Engineer

 

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Rent the Angenieux Optimo Ultra 12x Zoom Lens at 25% Off in June

The best just got better! Rent the Angenieux Optimo Ultra 12x Zoom lens at 25% off all-month-long!

The Angenieux Optimo Ultra 12x Zoom Lens, with new optical and mechanical design, delivers unparalleled optical performance and mechanical reliability.  

Angenieux’s Interchangeable Rear Optics technology allows for the lens to be switched between 3 modes of coverage: Super 35mm, Ultra 35mm, and, coming soon, Full Frame/VistaVision.

Features include improved optical and mechanical design, no ramping, minimal breathing, superior optical characteristics, 321 degree focus ring with over 70 marks, and top carry handle. Click here to read Alex Enman’s blog post on this “multi-format monster”. 

Rent it for 25% off the regular rental rate of $695/day in June! Contact Rentals by email or phone at 800-rule-com for details, including multi-day rates.
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SL1 Mix + Mini Mix LED’s: High-Color Performance, Advanced Technology, Easy-to-Use

Durability, high-color performance, ease-of-use, advanced technology, and portability are all features that I look for when bringing new lights into our rental pool.  The SL1 Mix and the Mini Mix from DMG Lumiere provide all of the above, and make them a perfect fit for our rental clients.

Having the complete line-up of Rosco Gels at your fingertips is one of the many features of both the SL1 Mix and Mini Mix. While this isn’t new in the world of LED lighting, it’s nice to see these options integrated by many manufacturers.

Both fixtures can be powered by batteries, and this is, hands-down, my favorite feature. Production is a fast and furious business, so the ability to quickly power a fixture via battery is crucial!

Last but not least is the DMG Lumiere app that controls both of these units. Making your own colors, matching sources, dimming, and creating your own lighting libraries are just a few of the benefits that this app offers its users.

Both units are available to rent at Rule Boston Camera. Take either or both for a test run with our 25% discount in May. Click here to email rentals or call 800-rule-com.

-Dylan Law, QC/Logistics and MoVI Tech

 

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Rediscovering Celluloid: Film Capture with the Arriflex 535B

I’ve used the Arriflex 535B dozens of times on commercial shoots in the past, as an operator and as a DP. Sometimes you just take it for granted that it’s a tool to get a specific job done. But now, as a Professor of Cinematography, I watch my students learning the camera and rediscovering celluloid. I see that joy and wonder back in their faces the minute the camera starts running and they see the flicker through the eyepiece. It is so powerful.

When you’re shooting on film, 80 percent of the creative process happens outside of the camera. You have to think about your lighting plan, contrast ratios, and overall dynamics in a much more organic way. All of these things are also important when shooting digitally but the way they are approached is slightly different.

When working with film, you have to be more intentional at the outset. You’re not able to preview your imagery like you can with digital. There are no look-up tables or wave forms for you to rely on. You have to rely on your knowledge of the film stock and your light meter to tell you what’s going on. This causes you to pause and take more time with what you’re doing, as there is far less room for error.

The immediacy of digital technology and how it gives us what we want so quickly has really flavored how we approach image making. Film is the shoulders that digital stands upon. If we could all just take a step back and remember what film has given us, we will really think about what it is we are capturing, how we are capturing it and most importantly, why.

Thanks to Guest Blogger, Joey Kolbe, a talented Wildlife Photographer, Cinematographer, and Cinematography Professor for sharing his insight and experiences shooting with film. Be sure to follow him on Instagram

ABOUT JOEY KOLBE: Joey Kolbe is a Wildlife Photographer and Cinematographer for Live Action Narrative, Formula One and MotoGP, Special Effects and Stop Motion Animation. He also teaches Cinematography at Emerson College, Lesley University, and the Massachusetts College of Art where he shares his passion for filmmaking with the next generation. He lives in the Boston area with his wife and two daughters.