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Get Paneled with 25% Off Select LED Panel Lighting in October

Choose from a variety of compact, ultra-bright and high-quality LED lighting panels at 25% off all month long! Contact Rentals by email or call 800-rule-com.

ARRI SkyPanel S60-C LED        $257 less 25%

Litepanels Gemini 2×1 Soft Light $195 less 25%

LiteGear LiteMat+ Plus 8 LED Kit $175 less 25%

LiteGear LiteMat+ Plus 4 LED Kit $125 less 25%

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Analog Is Alive and Well with the ARRICAM ST

Despite popular belief, analog acquisition is alive and well in 2019.

The continual re-birth of photochemical filmmaking has given us at Rule the great joy of keeping our film cameras on hand for new generations to discover. After a long pause we are finally able to bring a new (to us) film camera into our offerings.

The ARRICAM ST (short for Studio) is the flagship culmination of ARRI’s long history in building beautiful motion picture cameras — with the ST combining features from the ARRI 535B and the Austrian Moviecam Compact into one elegant camera system. It is a whisper quiet film camera (under 20dB) with all the bells and whistles one would expect from a studio camera.

One of my favorite features of this particular ARRICAM ST is that it has a 3 perforation Super 35mm movement. This allows you to frame for 1.78, 1.85, and 2.39 while using 25% less film. Less film means longer takes on the same 400′ and 1000′ loads as well as a significant cost savings in processing, prep, and scanning of your film. While not as aggressive a savings as shooting 2 perf, 3 perf affords you more flexibility for choice of aspect ratio and still leaves you some wiggle room for reframing when shooting for a 2.39 aspect ratio.

My second favorite feature is the programmable speed control box on the side of the camera. By working in conjunction with the electronically controlled spinning mirror shutter, the speed control box can generate speed ramps from anywhere within 1-60fps at the push of a button. The ability to “slow time on a dime” is something incredibly special when imaged on film. Cue up your favorite Wes Anderson film for reference.

I’m admittedly quite personally biased to shooting film. While many will find good reasons to disagree, I feel that nothing quite matches the characteristic response of a spinning mirror exposing emulsion. Film after all has the built-in “film look” that many of us try to desperately mimic with every digital cinema camera that races down the track. Film negative has unparalleled highlight handling, smooth motion cadence, and fine organic texture. Film is even more forgiving to focus pulls.

If you haven’t had a chance to experience the guilty pleasure of shooting film, perhaps the ARRICAM ST can be the muse for your next project and your first photochemical romance.

-Adam Van Voorhis, Equipment Manager

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The ALEXA Mini Goes Full Frame with the LF

If you’re reading this, you’re probably a camera nerd — and if you’re a camera nerd, you’ve probably heard of this company called ARRI. They’re from Germany. They’ve been around for like, 100 years or so. Us camera nerds know that when ARRI announces a new camera, it’s a big deal. They make cameras that have an enormous impact on how our industry operates — and the new Alexa Mini LF is no different.

Full frame video has been increasing in popularity over the years — it’s hard to say where it started to pick up steam, but the Canon C700 Full Frame and RED Monstro Vista Vision are certainly the big cameras that hit the market first — followed closely by the Sony VENICE and ALEXA LF. We knew these cameras were coming, as lens manufacturers had been posturing for a full frame cinema option for years. 

When ARRI released the ALEXA LF, the baby brother of the large format ALEXA 65, we knew that full frame was an official part of cinema. While the ALEXA LF is a wonder of engineering, it is still packaged in the heavy and bulky ALEXA-style body. Great for large scale shoots and multiple operators, but not so great for the everyday indie or commercial setups. This is where the ALEXA Mini has found its footing, with its small scale lending itself well to gimbals, drones, and operators of every stature with its democratizing 5lb body.

Enter: The ALEXA Mini LF. The full frame, 4.5K capable, 5.7lb ALEXA. When going through the specs, one can find themselves wanting to use words like “full frame monster” and “game changer” — or other buzzword camera nerd affectations. There is no need. It’s an ARRI ALEXA Mini LF. Enough said.

The Mini LF can do all the things it’s family members can – but with some added resolutions. Below, a list of the various options for SUP 6.0:

 

The camera’s size has also remained mostly unchanged, with a few updates on body design to accommodate the newer Codex Media.

 

 

Speaking of media, ARRI has chosen to abandon the CFast format (thankfully) and has moved to the newer Codex Compact Drives. Some will say this media choice is expensive – and that’s because it is! Very much so. Coming in right around $2,400 bucks per 1TB card, they’re up there, but no more so than any other professional recording media. Have you met my friend, the RED Mini Mag? Or how about the Sony AXSM cards? Those run over $4,500 per TB!

ARRI is being aggressive with its promotion for this camera, same as the ALEXA LF — listing it’s dynamic range as higher than “any production camera.” A bold claim, but anyone who’s shot with these cameras can attest to its authenticity – these are the closest to film DR you’re going to get. 

ARRI has also chosen to remain with their Alev III sensor, assuring that the same ARRI Color Science that has won so many awards over the years is maintained at their higher resolutions. Other updates include higher usable sensitivity with lower noise, new internal ND filters, improved timecode and audio connectivity, two built-in microphones, and a brand spanking new Viewfinder – the MVF-2 HD OLED EVF. 

This new model has a 4” flip out monitor, and a newer flexible cable to cut down on wear and tear. The camera is packed full of small improvements which really proves that ARRI listens to their users and is always tweaking their designs to best serve their customers. It gives every camera they make a sense of true professionalism. 

The big draw, of course, is the full frame image. There’s something I’ve always loved about the field of view you get when shooting full frame — there’s just something about it. Perhaps it comes from years of taking still photos, or maybe my early career shooting with the 5D (MK II, so you know I’ve got that OG DSLR street cred. Where my AF100 folks at?) Regardless of why, the full frame immersion paired with the ARRI look is a match made in heaven. I very much look forward to seeing some of the amazing films and content produced with this camera — it’s a game changer, and a full frame monster.

Missed the ARRI ALEXA LF and Mini LF along with Signature Primes and accessories at our September Pub Night?  Click here for event photos.

– Alex Enman, Engineer

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Optical Support Jackal Rickshaw is the Perfect Tool

Ahhh… dreams do come true! The Jackal by Optical Support is the perfect tool for our clients and our local production market. From the easy travel case to the quick adjusting wheel base, the Jackal has it all and more.

Rickshaws have been on film sets for many years now and come in all shapes and sizes. We do a large amount of Flowcine Black Arm work at the shop, and the team at Optical Support jumped on the opportunity to help us combine both worlds.

We are very excited for our clients to take the Jackal for a spin. It’s ready for any Handheld, Easyrig, MoVI, Ronin, Steadicam, and Black Arm jobs you may have. And, if you rent the Jackal in September, you’ll get 25% off the regular rate. Click here to learn more or contact rentals@rule.com or 800-rule-com.

-Dylan Law, QC/Logistics & MoVI Tech