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.