Video streaming is everywhere. With all the solutions out there for more efficient and professional workflows, we at Rule thought you might like to see some of them under our roof. Whether your needs are a zoom call with heightened production value, a full on multicam livestream event or anything in between, we think these are the best tools to help get you there.
With UltraStudio you can connect to virtually any video device, including cameras, monitors and broadcast decks for frame accurate editing, recording and streaming. UltraStudio Mini Recorder features 1.5G-SDI and HDMI input and UltraStudio Mini Monitor features 1.5G-SDI and HDMI outputs.
HELO is AJA’s powerful H.264 streaming and recording stand-alone appliance. HELO brings both SDI and HDMI I/O into a single appliance with the ability to simultaneously stream out to your Content Delivery Network (CDN) as well as encode and record beautiful H.264 files to either SD, SDHC or SDXC cards, USB storage or NFS or CIFS mounted network based storage simultaneously.
The Cube packs world-class video quality into a rugged, portable chassis for quick IP video deployments at any location. Each encoder and decoder includes HDMI and 3G-SDI I/O, Ethernet / WiFI connectivity, and full duplex IFB. All Teradek codecs can stream to any online video platform, including Facebook Live, YouTube Live, Periscope, Twitch, and more.
Coupled with Cam Link 4K, your camera appears as a webcam in all your favorite apps. Superb quality at 1080p60 or even up to 4K at 30 frames per second keeps your stream professional. Ultra-low-latency technology gets you up and running on your favorite platform in no time. And your camera has never felt more powerful.
This handy little powerhouse is fast to set up and easy to use. It includes 4 standard converted HDMI inputs, USB webcam out, HDMI out, Fairlight audio mixer with EQ and dynamics, DVE for picture in picture, transition effects, green screen chroma key, 20 stills media pool for titles and free ATEM Software Control. ATEM Mini Pro also includes direct recording to USB flash disks in H.264 and direct streaming via Ethernet to YouTube Live and more. There’s also a multiview with 4 cameras, media, preview and program plus status of recording, streaming and audio.
With the Blackmagic Web Presenter you can make any SDI or HDMI video source appear as a USB webcam for higher quality web streaming using software such as Skype or streaming platforms such as YouTube Live, Facebook Live, Twitch.tv, Periscope and more. Turn any live production into a global broadcast.
As with all technology, this is an area in constant flux, so feel free to give us a call at 800.785.3266 or drop us a line at email@example.com for the latest info!
As we monitor daily updates for COVID-19, we wanted to make you aware of our plans to address the safety of our customers, vendors, and employees.
Rule Boston Camera is currently following these procedures:
Cleaning and disinfecting of all frequently touched objects and surfaces, including door handles, check out tables, rental counters, etc.
Handling all equipment with disposable gloves in addition to cleaning and disinfecting equipment that comes in and goes out.
Special check-in tables are set-up in Rentals to receive all equipment in order to limit touch points.
We are practicing recommended sanitary measures for regular hand-washing, covering nose and mouth when coughing or sneezing, and social distancing.
We will not be hosting any public events until it’s safe to do so.
We encourage anyone who is sick to avoid coming in to pick up or drop off equipment. Please contact Rentals to make other arrangements. Our employees will stay home if they are feeling unwell. Currently, there are no cases of any illnesses in our Rule Boston Camera community.
We understand that these are difficult and unsettling times. We are monitoring COVID-19 information and resources closely, and we will provide any updates via email, on our website, and on our social media channels.
For additional information on COVID-19, please visit these links:
Based on the many requests from our clients and in order to provide even more services to the production community, we decided to open up our beautiful industrial space to rentals! We’re working with Peerspace to make our facility available at a reasonable rate — with parking included! Click here for details.
It’s here! The new Canon C500 MK II, the long anticipated sequel to the C500 and (current) successor to the ever popular C300 MK II. This time, it’s Full Frame! Canon fans have been waiting a long time for this update to the Cine series, so how does it stack up?
Right off the bat, the C500 II is leading the charge into the Full-Frame Cinema Camera landscape. This camera offers Full-Frame 5.9K RAW recording internally to the new CF Express media. Additionally, it will record 4K S35 RAW, alongside 4K S35 and 4K Full Frame XF-AVC. Did I mention it shoots 4K? It shoots a lot of 4K.
For high-speed and XF-AVC modes, there is a crop employed, depending on your settings. Below, I’ve outlined the main differences, crop-wise, between RAW and XF-AVC formats. My findings have it at about a 10% crop between modes.
Color-wise, the C500 II brings the same tried-and-true Canon color science, with options for Canon LOG2 and LOG3, as well as the same methods for adjusting between color profiles and matrices. I’m still partial to “Production Camera.” The color is very Canon-like, with dependable skin tones and great highlight retention. Canon’s biggest advantage was always its built-in color science and this is no different.
For high-speed options, you’ve got 60fps at 5.9K RAW and 4K formats — and up to 120fps for the 2K cropped modes — similar to the C300 II. Canon cameras have traditionally struggled with high-speed options, and it would have been nice to see some better, non-cropped options in the C500 II, but it’s also no huge shock that there aren’t any.
The new camera also includes a few new expansion units — the most useful of which adds an additional 2 XLR ports, V-mount power options, and lens control. It builds out nicely, and it doesn’t add too much bulk to the body — but it adds the increased real estate to throw it on a shoulder more comfortably — aided by the counter weight of a larger battery. Large batteries may be the way to go with this one, as the camera sure does use a lot of power. Nothing unexpected, though, as we’re seeing all the new full-frame cameras slurp down batteries without a care in the world. Price of admission, it would seem.
The new LCD screen and menu layout are a welcome change from the C300 II, and it feels right at home with C200 users. A single cable connects the screen to the front of the camera, ditching the audio bundled to LCD that has been an issue with the previous cameras. Overall, the build quality is rugged, and if past cinema cameras are any indication, people will be putting that to the test.
For outputs, we’ve got a 4K HDMI, a Monitor SDI out, and a 12G 4K SDI out, in addition to the video terminal for the LCD/EVF. One small issue is that when recording in 4K formats, the SDI out is stuck to outputting 4K. Most wireless transmitters and on-board monitors don’t accept a 12G 4K image, limiting users to using the Monitor Out for on-camera routing. Not a huge issue, but not having the ability to spit out a clean and overlay/LUT signal at the same time to two places will get on the nerves of the DIT. I expect this will be addressed in a future firmware update.
Using the camera is easy, as one would expect from Canon. While the menu system is a lot longer than with previous Canon cameras, it’s still as easy as ever to find what you’re looking for.
Overall, we expect this camera will meet the needs of the full-frame minded shooter, with plenty of S35 modes as well. While the XF-AVC looks great, it’s the Canon Raw that really sings. And while it’s compressed, it’s still a pretty hefty workflow at around 32 minutes per 512GB card. It’s helpful that this camera can occupy both higher budget shoots with RAW workflows, and more traditional C300 II style shooting with XF-AVC — looking great in either scenario. Reach out to Rentals by email or phone at 800-rule-com (800-785-3266) to take it for a spin. Canon’s Ryan Snyder and Paul Hawxhurst will be here on March 18th from 10am-12n for a hands-on overview. Click here to RSVP. It’s FREE!
Capture full-frame resolution for more detail and exceptional image quality when you rent our full-frame digital cinema cameras and lenses at 25% off! Reach out to Rentals by email or phone at 800-rule-com.
Making cool shit is fun. And I wish I got to do it more often. So, when my friend and director, Joan Cassin, asked me if I’d be interested in working on a passion project / mini doc, I said, “Hell yes.”
There was no money. Getting it scheduled was hard, but finally the night came — we were going to grab what equipment we could afford, beg, borrow, or steal, and try to make something happen. The plan was to get together with a local chef, Daniel Gursha, who has a passion for cooking locally and seasonally, and make a little film poem.
First up we wanted to knock the Laowa macro stuff out of the way. The Laowa was a delight to use–although not the easiest in terms of execution. Wide open it’s at a healthy T14, which may not scare some people, but as a proud member of the litemat/titan tube/neg fill for 90% of situations generation, I wasn’t sure exactly how I’d get there. Especially when not in a studio.
A lot of probe lenses will open to a 5.6 or 8, but it’s a little bit of a gotcha. Usually there is a tremendous amount of chromatic aberration and general funk to the lens at the aperture. Not to mention that at these focal distances you just need a lot of depth of field to be able to tell what the hell you’re looking at. By starting with a T14, the Laowa basically says, we need this much light to start to look good. Deal with it.
One other complicating factor was we needed to be overcranked. For me, on a macro photography scale, things just look a little better slowed down. They do this when shooting miniature sets for films. You can barely notice but it helps you parse what you’re seeing more easily and feels like a more natural scale of movement.
I went to 48fps, with a 220 degree shutter–which is kind of my go to set up if we aren’t sure if the footage will be retimed. The 220 degree shutter allows for a more normal motion blur if you retime to 24fps, without making the overcranked stuff look like a blurry mess. The Laowa comes with a ring of LED lights around the lens, but I wouldn’t recommend using it if you can avoid it. The solution to not having enough light was to just rip all the diffusion off and walk lights close to the lens. When you are at deeper stops you can really start painting with lights. At wide open and 1600 iso, the slightest change in light can really mess up your scene, but at T14/16, you can have a light at 100% intensity and next to the subject and really feel it in a different way. It’s fun. If I can, even on fast lenses–say a 2.0 at 800 iso, I’ll often try and keep a .6 in front of the lens just so you can be a little more liberal with how you splash around the photons.
The next hurdle we had to cross was camera movement. We didn’t have a dolly, or slider, or a grip, or anything. Also, it bears mentioning that this was one of the most unfriendly locations for this kind of work. The counters were small and up against the wall. On an impulse I had grabbed my daughters super small pink skateboard and brought it to the shoot. In order to get the lens level with the cutting board we brought over a lower table from the kitchen, put the skateboard on that with a small cutting board on top, and then rested the camera on that. Rickety, but it worked–being overcranked helped us tremendously in smoothing things out.
Here you can see it in execution. Macro close ups are great, but moving ones are bananas.
After we finished up the tabletop portion we switched to getting a little footage of the chef in action. Fire is an element to our story and we needed to capture him grilling some vegetables and meat. We took off the Laowa, put on the Leica R’s, and I strapped into the EasyRig.
For the grilling scene I really wanted to splash color everywhere. I wanted a warm, welcoming light coming from the direction of the house, and also a strange cold color coming from the outside world. We only had one RGB light, the DMG Lumiere, so I set that to the Rosco Jade gel preset, and stuck it way out in the yard, as high on a c-stand as it would go. For the warm welcoming light, I took the Cineo with a chimera on it, and taped full CTO inside the softbox. The Cineo is a great light–it renders tungsten or daylight beautifully, but essentially you are relegated to 3200 or 5600 depending on the panels you have, which these days feels like a real limitation.
This scene was fun to shoot–I wish I had spent a little more time getting some eyelight in there, but I’ll definitely remember next time. I think as an operator or a DP I always have a checklist playing over and over in my head. Just going over framing, exposure, contrast, and colors again and again — and I’m always finding small things to add to the list. This time was a reminder not to forget eyelight. I haven’t used the Rs much but liked them very much–wide open they feel very soft with nice fall off, even at a 2.8. Next time I may try a little deeper stop for more resolving power.
All in all it was a long but really rewarding night. Thanks to Director Joan Cassin for bringing me on to shoot, the invaluable help of Sarah Secunda, the awesome BTS photos of Danny Ebersole, and the delicious food of Chef Daniel Gursha.
Last weekend I filmed a little passion project. It was a music video, and I was operating as a one-man show. Since I was shooting solo, my goal was to have a camera that was both lightweight and compact without sacrificing quality. The Blackmagic Pocket Cinema Camera 4K was a perfect fit with a 4/3 image sensor that captures 4096 x 2160 DCI 4K. With great Codecs — like ProRes and Blackmagic Raw — I was in for an easy post-production workflow.
For this shoot, I was operating in a variety of locations, and I knew the camera had to be able to handle each one. The first location was a dark basement and another location was outdoors in daylight. My goal was to make sure I didn’t lose my shadows in the basement or my highlights in the sky while outdoors. With the BMPCC’s 13 stops of dynamic range and its dual ISO, I didn’t have any issues at all.
The 5-inch LCD touch screen that comes with the camera was perfect. I had mounted a SmallHD monitor to the camera, but I caught myself looking more at the camera’s screen than at the external monitor. It was big enough to get that sharp focus, which I really liked.
The one flaw I found with the camera was using it with an LP-E6 Battery. I use these batteries with my Canon DSLR, so I always have a bunch of them lying around. I couldn’t believe how fast I went through them while shooting. I was switching batteries about every half hour or so. Since I was in one location with a charge station it was not a concern for me. If your shoot happens to be less convenient to a power source, then you’ll be glad to know that this camera does come with a DTap Power Cable to draw power off your gold mount and V-mount batteries. Keep in mind that this adds weight to your camera set-up, but it saves you from the hassle of worrying about power.
One last great feature with the BMPCC is that you have some media options for recording. This camera has built-in SD and CFast card slots along with a USB-C port. The USB-C is great because you can record to an SSD through it, and you’ll get almost endless amounts of storage potential.
Overall, I was glad I brought the Blackmagic Pocket Cinema Camera 4K along. It most definitely got the job done.
With a simple install and immediate results, the new VEGA upgrade is a no-brainer for rental houses and owner-operators alike. Owner-operators, click here to follow Ready Rig’s simple upgrade instructions.
The improved stability and weight control make the upgrade worth every penny. For any gimbal job, add a Ready Rig with VEGA to your order for improved stability and weight control. The VEGA absorbs unwanted motion to capture smooth and fluid shots with the controls at your fingertips. You’ll love the improvements in this motion tool — made by industry professionals for industry professionals!
Take the VEGA for a spin and let me know what you think. To book it, reach out to Rentals by email or call 800-rule-com.
Unique bokeh characteristics, focus breathing, desired flaring, EF or PL mount, fast T-Stop (for anamorphic), standard front diameter (114mm), and affordable cost — these are just some of the features found in the Orion 2x Anamorphic lenses from Atlas Lens Co.
The Orion series (we have both A and B sets) brings anamorphic shooting to the masses! While traditional anamorphic lenses can be out of reach, budget-wise, we’re thrilled to carry the full set that includes the 32mm, 40mm, 50mm, 65mm, 80mm, and 100mm anamorphic prime lenses.
My favorite part of carrying these lenses here in Rentals? I love when customers come into the shop with a smile on their faces because they can now bring the anamorphic look to their clients and their projects.
The size and weight of these lenses make them great for handheld, tripod, dolly, gimbal, and drone workflows. Once you see your first few frames through these anamorphic lenses, you will understand what Atlas Lens Co. has done for the industry.
UPDATE: The Sony PXW-FX9 is now available to Rent! This blog post was written before its arrival, but we’re no less excited! Please, read on to learn why and reach out to Rentals to book by email or phone (800-rule-com).
Today, I wanna talk about the newly announced Sony FX9, a camera I couldn’t be more excited for… But before I do that, we need to talk about some history. The Year: 2014. Latvia has just adopted the Euro, Birdman and Whiplash have made Jazz drumming the official soundtrack of the year, and Dr. Dre became a billionaire after selling some headphones to Apple. It was a time of transition in our industry, and Sony decided to make a big move in the cinema camera market. At this point, Sony’s lineup was based mostly around the F55 and F5, twin cameras that spanned the $15-25K market. We tend to see large manufacturers borrowing technology from their higher-end cameras and spinning it off into lower tier models, and in 2014 Sony swung for the fences. They borrowed the sensor from their popular F5 cinema camera, stuck it in a cheaper, shoulder-friendly model — and released the PXW-FS7.
People. Freaked. Out.
The FS7 went head-on against Canon’s massively popular C300, and the mid-tier cinema market changed. The FS7 was popular for a host of reasons, but the one that stuck out most and really set it apart was the form factor. Sony decided that, sometimes, it’s nice to put a camera on your shoulder. Borrowing designs from Super-16 Aatons, not to mention a carbon copy of their hand grip, the FS7 was unlike any other camera – because it looked most like a camera. The best part was the price point – coming in around $8K, compared to Canon’s C300 that sold closer to $15K. The FS7 was updated a few years later with the FS7 II. The model was exactly the same, specs-wise, but had the addition of the FS5’s Variable ND filter system. Sony also created a new locking E-Mount to deal with the hefty lenses shooters were pairing with the camera. The mirrorless, small flange distance E mount lent itself well to adapting — and the smart cropping modes for the 4K sensor meant that you could use pretty much any lens you could get your hands on.
The FS7 was, at the time, a powerhouse of specs. Full DCI 4K up to 60fps, HD up to 180fps – a RAW back for 12bit RAW up to 240fps at HD. The camera was scalable, somewhat modular, and fit on pretty much anyone’s shoulder out of the box – no need for third party shoulder pads and accessories.
The interesting piece of this story is that even in today’s camera landscape, the FS7 II is still an extremely capable camera at its price point. It’s still more powerful than the C300II, having no issues with crop and high frame rates, and is in line with great color options in Slog3. So, what could they improve on?
That brings us to today, the Fall of 2019 — 5 years since the FS7’s release. The industry has been waiting patiently for a true update to the FS7, and an FS7 III had been rumored for years. In September, Sony announced the PXW-FX9 – something much more than a small update to the line, and, in fact, a whole new model with something very different to bring to the table, all while keeping what worked with the FS7 in mind.
Just as the original FS7 borrowed some DNA from it’s older brothers, the FX9 is no different. Sony’s new flagship VENICE camera has made some serious waves in the industry, offering not only an amazing full frame 6K image — but a new color science that has DP’s second guessing their ARRI and RED cameras. This is a huge step for Sony. As a colorist, I hear the “it’s an ok camera but it has that Sony video look” quite a bit — a claim I find entirely foolish. The offering of a true wide gamut and log gamma mean that the camera looks however you want it to — and if it looks too “video-y,” then you’re doing it wrong. That point aside, the VENICE is beautiful. The new color, paired with the full-frame look, is something to behold. And that’s where the FX9 comes from, borrowing the new color science and sporting a brand new 6K imager. Now, that doesn’t mean it can record full 6K like it’s older sibling (currently), but what it does mean is that it creates a wonderfully deep image from the 6K to 4K debayer. If you know anything about sensors, you know that you don’t necessarily want to shoot the native resolution of a CMOS sensor – ideally you want a larger resolution to debayer a better image from. This is how the original C300 made its HD image look so nice, even though it had a 4K sensor. The C300II uses a similar 4K sensor to shoot 4K, and it really doesn’t shine as brightly as it should for that reason. The FX9 has an entirely new body, and while it’s price point is somewhat higher than the original FS7 – I think the extra costs have been put in the right places. It’s more rugged, built tougher, and looks amazing. Using the same media as the FS7, XQD (now called CFexpress and being widely adopted by plenty of other manufacturers) means one doesn’t have to worry about corrupt cards and all the problems that come with CFast2.0 — a media format I’d describe as straight garbage.
The FX9 still has the option for an external RAW back, just like the original XDCA unit, but this time it’s pushing out 16Bit RAW.
Preorders are available now, with it due to ship in December 2019. We’re pretty confident that this camera is going to be THE camera for mid-tier cinema uses. Commercial, doc, streaming, even TV – all in that glorious full frame field of view. Look for an update once ours arrive!
CALLING ALL STUDENTS! Join Rule Boston Camera for our Spring Semester Internship starting in January and ending in April for 2 days a week of high-level training and hands-on access to the latest film and video equipment and technology. You’ll learn the basics from our team in the Quality Control Department with exposure to the in’s and out’s of Rentals and Engineering along with demos of the latest and most popular gear from our tech team.
Interested? Send resumes to Dylan Law at firstname.lastname@example.org. This is an unpaid internship.
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.
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.
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 email@example.com or 800-rule-com.
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.
(UPDATE! Rent a variety of our Sliders + Jibs — including the Cinevate Sliders — at 25% in March! Click here for details.)
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.
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!
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!