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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.

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The Angenieux EZ-1: Affordable and Flexible Cine Zoom

The Angenieux EZ-1 30-90mm T2 Super35 zoom lens is one of a handful of lenses in the quickly expanding category of affordable cine-zooms. For a long time, cinema zooms were always two things: heavy and expensive. In the past year or so, we have seen manufacturers innovate and release a new group of lightweight cinema zooms. To name a few: Zeiss 21-100mm, Sigma 18-35mm / 50-100mm, Fujinon 18-55mm, and Canon 18-80mm. As a documentary and commercial shooter, it has been great to see this huge increase in choices at a reasonable price. I find myself taking the Angenieux on set because of its size, its flexibility, and its wide open performance.

First and foremost, the size, weight, and handling of this lens is superb. It is well-balanced and weighs in at just 4lbs. I shoot a lot of handheld and gimbal work so weight is always a factor. Having built-in focus, iris, and zoom gears is a big advantage in both keeping the lens streamlined and removing any extra weight from add-on 3rd party focus gears. The EZ-1 also features rubberized grips along the lens for better control when not using a follow focus. This lens is built with the operator in mind.

In the documentary world, staying flexible on set is a must. The ability to quickly go from PL to EF to E mount on set with no tools is a big deal. Pairing lenses and sensors is a big part of a cinematographer’s job these days — both from an aesthetics standpoint and a function standpoint. This lens is equally at home on a Sony a7S wedged inside a car as it is on a 35mm ARRI film camera on a dolly. In addition to the lens mount, you can also change the rear optical block to go from covering just Super35 to covering full frame/ VistaVision. 

There is a certain feeling imbued into lenses by each manufacturer. A subtle difference that doesn’t come across in technical specifications but is often talked about amongst cinematographers and is unique to that manufacturer. Angenieux’s reputation is one of the best in the industry. The EZ-1 fits in easily amongst its family members and delivers the same consistent colors and pleasing sharpness that one should expect from Angenieux.  

-Harvey Burrell, Guest Blogger and Co-founder of Windy Films

 

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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

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Sound Advice Tour Recap

The Sound Advice Tour ended its tour in Boston MA and I was lucky enough to go and check it out. Being an audio guy I was really curious how he was going to explain and teach us things about audio for video. In the class there were way more video people than audio people, with all different levels of experience. He first started by showing us clips of different movies he has done and showed us how much the audio impacts the movie as a whole and the slightest sound can change the whole setting. I was really impressed with how much work is really done for a feature length film and by the end you can end up with over hundreds of tracks for foley, music and sound effects. Once we got more into the lecture he talked about how to record foley and what types of microphones to use in certain situations. For example if you are using a Sennheiser MKH 8060 out in the field to record your audio and you need to do ADR in the studio then you should use the exact same microphone in the studio so it has the same characteristics. He showed us a cool technique that when using an omni-directional microphone with a group of people walking and talking in circles around the microphone it creates a cool effect to where it seems like there are way more people in the setting than there actually is. This really blew my mind away, “DOPE”. We did talk a lot about equalization and cleaning up your audio in post. Cleaning up your audio really makes the voice stand out and removing unwanted noise in the background can really make a difference. The thing I was most excited about was learning how to get rid of that unwanted noise that comes from having a microphone on a boom pole. I always kind of knew how to get rid of it but the way he showed us really blew my mind and really helped me out for my future projects. If you don’t have the software called RX4 by iZotope and you are doing audio for videos then I highly recommend you get this. This software’s algorithm is highly advanced and can do just about anything from de-noising, to a simple EQ clean up and even de-reverbing! “WHAT?!?!” Yeah this software can really do it all and will make your films stand out from the rest of them. I went home and bought it that same day because I was so amazed by it. We also learned the three aspects of music that can really help your film because you do not want some horror type music in an epic fight scene it just doesn’t make sense. First you have your rhythm, your fight or flight. Second is melody, the thematic recall. Third you have the harmony, the emotional core of music. Most of the time there are two of these happening at a given time. Another good tip for everyone out there bad foley is better than no foley even if it is recorded on your iPhone still use it, it will help you out in the end. But remember mix it low and give it some EQ because those couple of steps are better heard low than not being there at all. After the whole class I learned a lot and recommend anyone check out Mark Edward Lewis’s class if you get a chance he really explains everything in depth and he really engages the audience. -Scott Pierce, Quality Control Technician, pierce@rule.com

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Production LEDs in a New Light with Zylight’s F8

UPDATE ON 5/12/14:  Since my original post below, I’ve learned that the F8’s bellows are actually made from silicone which should last significantly longer than rubber and that a redesigned yoke was already shown at NAB.  Zylight’s on the ball! We’ve all heard about the merits of LED lighting (low power draw, low heat, no bulb changing, etc.), but for the reality of production work, there were always major trade-offs. The throw of an LED light was useless unless you were right up on the talent, their color rendition was poor and their tell-tale multi-shadows were garbage.  LEDs were rightly relegated to being just an easy fill option or kick light.  Even their flicker free qualities were limited by their low output which is not what you need for high frame rate shooting.  Despite a larger power draw and the heat, you were always better off using tungsten or HMI. Zylight’s F8, though, finally spoils us. This is a focusable fresnel LED fixture (70° flood and 16° spot) that is lightweight, can be powered for over an hour with a standard camera battery, and has the equivalent throw of a traditional 650w tungsten head. I had to break out a light meter to see the proof in lux for myself.  Not to be overlooked is the distinct, single shadow you get from this instrument. You can order the F8 as 5600K or 3200K.

Admittedly, the F8 is a little pricey at $2,400.00 but remember that tungsten replacement bulbs aren’t cheap and neither is your electric bill if you have a studio.  The fact that you can just slap a dionic on the back and you’re good to go anywhere is amazing.  Save yourself from that heavy sack pack of stingers and dimmers.  I appreciate the retracting bellows design that squeezes this unit down to just a few inches thick.  The bellows are rubber, though, so there is the concern of hardening and cracks over time.  The yoke definitely needs a redesign.  Rosettes are for tripods and handles, not lights.  Having two separate rosette mounts to deal with every time you need to make adjustments is annoying.  Flicker free dimming from 0-100% from a small knob in the back or through DMX is a nice feature.  Zylight is very proud of their “Zylink” wireless control control capability but in practice, I could take or leave that feature.  I noticed a USB 3.0 port behind the fresnel lens so who knows what else is to come through firmware.  All things considered, the F8 is already a staple in our lighting inventory here at Rule and once you try it, you’ll be asking for it again and again.

– Jason Potz, Engineering, j.potz@rule.com

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Canon Cinema with SNL’s Alex Buono

Those who braved the spontaneous monsoon and made their way to the Yawkey Theater at WGBH in Boston on Wednesday, August 1st, were treated to an inspiring, funny and informative discussion with Alex Buono, the Director of Photography for Saturday Night Live’s Film Unit. The event was sponsored by FRONTLINE, Rule Boston Camera and Canon, and guests were wined and dined and encouraged to see, touch and shoot with the new C300 camera, which has been unbelievably popular since its release earlier this year. Buono uses the C300 in addition to several other Canon cameras for his work, including the 5D Mark II, 7D and the XF305. He shared some of his experiences on set and delved into how and why Canon’s cameras allow him to accomplish things he never could before in less time than ever, plus dropped tips and tricks throughout his presentation for people looking to get into DSLR or cine-style shooting. Naturally, I can’t cover everything here, but I’ll highlight some of the most interesting tidbits.

Buono started shooting for the SNL Film Unit back in 1999, when they were still shooting on film. That was a challenge, he said, because their typical shooting schedule goes like this: the writers deliver the script on Wednesday, they prep on Thursday, shoot on Friday and edit and air the final product on Saturday. Those turnaround times were brutal with film, but with new tapeless workflows, especially with the MXF MPEG-2 format the C300 shoots, they don’t have to bog themselves down with film processing or telecine, or even the painful rendering times that other video workflows might require. Canon’s cameras made it onto Saturday Night Live’s broadcasts in 2009, when Buono used the then-new 5D Mark II to shoot the opening sequence for the show. It was a bold step and a big undertaking, but he was impressed by the unprecedented light sensitivity, the ability to shoot in tiny spaces with a much smaller crew, and of course, the picture quality and shallow depth of field that he had struggled to achieve since leaving his film cameras on the shelf years before. After the success of that shoot, they adopted DSLRs into their workflow and have now added the C300 to their arsenal, which is Buono’s favorite tool yet. I was excited to see how Buono uses these cameras in his work every week and some of the additional equipment he has been particularly fond of. He spoke highly of a number of third-party accessories, including the “Target Shooter” and “The Event,” which are two different shoulder rigs from Zacuto and Red Rock Micro, respectively. He also never leaves home without his Zacuto Z-Finder Pro. Buono also showed off some seriously useful smartphone apps he relies on for location shooting, like Sunseeker and Helios for tracking movement of the sun. Most impressively, he showed us how to do “virtual location scouting” with Google Earth. Using their 3D building models and the time of day feature, he could track the movement of the sun throughout the day, plan out all of his framing, plus get contact information for buildings he wanted access to—all within the Google Earth application. Buono spent a good portion of his presentation talking about the technical specifications of the C300, but emphasized an important point (and my favorite tip from the evening): filmmaking is not a science project. In an industry where it’s easy to get caught up in numbers, feature lists and marketing jargon, it’s important to remember that these cameras are filmmaking tools that help us achieve our visions as storytellers. And the introduction of more affordable equipment and the resulting leveling of the playing field has allowed people to focus less on how much money and effort it takes to get a good picture and more on the things that really matter—good writing and good performances. That being said, he went into a detailed discussion about how the C300 captures and records color information, how capturing two green channels on the sensor dramatically improves low-light capability and how the form factor has significantly improved their flexibility while shooting, both with shoulder/handheld setups and in Steadicam applications. He also emphasized how great it is to be able to shoot a scene with Andy Samberg in the middle of Times Square without swarms of tourists taking any notice at all. Shooting incognito is a luxury few crews with SNL’s level of exposure enjoy. I was also pleased to hear him talk about the importance of color grading with tools like Apple Color, Final Cut Pro, Tiffen DFX or Magic Bullet. He also emphasized how critical good sound is, and recommended that everybody use a decent microphone (like the Rode Stereo VideoMic Pro) and record to something other than a DSLR—be it in-camera on the C300 or with external recorder (like the Zoom H4N). Shooting at 24 frames per second instead of 30 or 60 and using a 180-degree shutter (1/50th of a second on a DSLR) was also his recommendation as the single most important (and probably easiest) step for achieving a cinematic look with your video. There was plenty more that Alex Buono had to say about his experiences shooting commercial parodies, skits and other videos for SNL, as well as his impressions of the new Canon C300, but there was simply too much great information to cover here. He’s been traveling all around the country giving these kinds of presentations, so if you’re lucky, he may be making his way to a city near you and you can hear more about what he has to say. You can also follow him on Twitter at @alexbuono or go to alexbuonoreel.com to see more of his work. Peter Brunet, Engineering Technician, brunet@rule.com

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Canon C300 Pub Night With Larry Thorpe

I would like to thank all of those who joined us for Canon’s C300 event last night.  It was very well attended with a record 150 guests at our popular Pub Night series.  It was great to see a crowd of seasoned professionals eager to learn about the exciting new cinema camera offered by Canon.  As always, the night began with an excellent selection of  pizza and beer, but the floor was quickly handed over to Canon’s Larry Thorpe, an industry veteran who is one of the masterminds behind the development of the C300.  He was, by far, the best candidate to give the presentation.  He led the audience through many exciting specifications on the camera including its new Super 35mm sensor designed from the ground up with its native 850 iso sensitivity.  For a great list of specs on the camera you can visit Canon’s EOS web page.  Larry also showed various Canon-funded projects that were commissioned to highlight the range and resolution of the new camera.  The projects clearly show that the C300 promises to be a very important cinematic tool for filmmakers. We had four C300s on display (two with EF mounts and two with PL mounts) with one set-up to record Larry’s presentation.  Afterward, all hands were on the demo C300 models which were configured in various handheld and studio setups.  It was a great opportunity for everyone to push buttons, prod accessories, focus lenses and ask questions. Although the cameras will be returning to Canon, we expect to have another unit in-house soon for those of you who may have missed the event. We are actively working with Canon to finalize a dealership agreement for the C300 which would place us in a newly-formed Canon group titled “Professional Production System Dealers”. The group was formed not only to support the C300 but also to reinforce Canon’s commitment to produce future cinema cameras and lenses.  I am very excited about our developing relationship with Canon and all that it promises to bring to our clients.  I will, of course, keep you posted. We should have pricing and delivery info by January 17th.  If you are thinking about purchasing a C300 please consider talking to us first.  We are here to support you. Brian Malcolm, General Manager, malcolm@rule.com

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Production Outfitters: Community Resource

Boston’s film community is a growing community, and there is no greater partner to that growth than Rule Boston Camera.  Inherent in the company is a drive and motivation to supply the film and video community with the latest and greatest — not only in cameras and support but with an eye on covering all of the bases of production equipment needs. Enter Production Outfitters, Rule Boston Camera’s resource for production and expendable needs.  At Production Outfitters–as a convenience to our customers–we strive to provide all of the little tools and supplies that might otherwise be overlooked. Ranging from gaff and camera tape to gels, Assistant Camera equipment, Hard Drives and memory cards for the latest digital cameras, Production Outfitters aims to be an expanding resource to our customers and to the ever-growing local industry. If you have any suggestions on what’s hot or new in the industry, call or email me and I’ll work to make these options available to you. Help us to help the Boston film community keep growing and shooting! Nick Giannino, Production Outfitters Store and Rental Agent giannino@rule.com.

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Martha’s Vineyard Film Festival 2011

It’s my favorite season again- Film Fest Time! Rule Boston Camera supports a number of film festivals in New England, one of them being the Martha’s Vineyard Film Fest, which was held from last Thursday to this past Sunday and was in one word — AWESOME.  It was extremely well organized and the most enjoyable one I’ve been to yet.  I was privileged to watch (3) films during my stay – “How to Die in Oregon”, addressing Doctor-assisted suicide, “I Am” by Director Tom Shadyac (Ace Ventura, Bruce Almighty) exploring the world’s greatest minds with deep questions and personal revelations, and “We Still Live Here,” about the Wampanoag Indian’s reviving their ancient language and making it a part of everyday life after over 100 years of silence.  Most films had Q&A afterward, which, to me, is one of the props of the FF’s — being able to hear insight on editing, shooting challenges, etc.  It was fun to see lots of people with Rule Boston Camera hats walking around, and much thanks to Molly Purves, who made my stay (and everyone else’s) comfortable and easy.  Free (good) catered food with the movies, so if you are thinking of going to this fest in the future, you are literally looking at a $16 ferry ticket, hotel and movie tickets. A fairly cheap weekend, if you ask me and well-worth the trip.  Next year should be interesting, as Martha’s Vineyard has expressed a desire to build a facility strictly for films.  Personally, I hope they keep the 12 couches in back of whatever they build because that may be the greatest decision to date. If you want to look at more, follow me on Twitter @michelle_brooks and @ruleboscam and see my opinion of the films this weekend. Michelle Brooks, Inside Sales Representative

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The Alexa – Out of the Box and Into It’s First Local Feature!

Our very own Alexa was the star of a film shooting locally, in New Bedford, MA, this Winter.  “Fairhaven” is a comic drama that tells the story of three childhood friends reuniting in their home town of Fairhaven, MA.  Written and Directed by Tom O’Brien who fell in love with the Massachusetts seaport town and was inspired to set the project there.  The film is being shot by DP Peter Simonite and features stars such as Mad Men’s, Rich Sommer, Six Feet Under’s, Chris Messina and Deadwood’s Sarah Paulson.
We missed our Alexa dearly and we were eager to hear what our friends at Fairhaven thought of the camera.  General Manager Brian Malcolm and myself ventured down to Westport, MA to meet the cast and crew on location at Lee’s Market for some grocery store interior shots.  On the way, Brian spotted 4 Red-Tailed Hawks and one male Cardinal.  I tried to play the bird game too but my bird-like findings turned out to be trash bags trapped in branches or bushels of leaves.  (You’ve won this round, Malcolm!)
When we arrived on the set, we were warmly welcomed by an excited cast and crew.  Everyone raved about the Alexa with its superior image quality and high sensitivity in low light.  The Alexa is rated at ISO 800 but we learned that they were able to get exposures of up to 1600 ISO.  Phrases like “This camera will change the industry forever” and ” I never want to work with another camera again” were echoing around us as the crew testified to the camera’s cinematic abilities and ease-of-use.
We really enjoyed watching the Fairhaven team in action, and we’re looking forward to the film’s release!
For more information about the Fairhaven movie visit their website at www.fairhaventhemovie.com.
For more information on the Alexa, call or email answers@rule.com.
Nick Giannino, Rental Agent
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Expendables for Students at Production Outfitters!

As the school year approaches, the Production Outfitters store here at Rule Boston Camera is gearing up for the influx of new and returning students! With a wide inventory of expendables such as light meters, American Cinematographer Manuals, and many different technical books on Video, Audio, and Film, students will receive a discount on all light meters with a special discount on autographed copies of David E. Elkins, book, “The Camera Assistant’s Manual” during his Learning Lab “Nuts & Bolts of the AC Position” held on Wednesday, August 25th from 10am to 12n. Visit the Production Outfitters store for all the essential items a student needs to round out their film classes! Gen Andrews, Production Outfitters Store

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Philip Bloom DSLR Workshop @ Rule

Filmmaker / Blogger / Twitter fanatic Philip Bloom came to Rule Boston Camera courtesy of the Boston Final Cut User Group this weekend to hold a two-day workshop on DSLR filmmaking. On Saturday, I was lucky enough to listen in and talk with Philip. If you have followed his Tweets or his Blog you know that Mr. Bloom is very charismatic and witty. He made it clear that he was open for questions and didn’t want anyone to feel cheated by not getting the info they came for. After seeing several examples of his non-commercial work (understandably, he cannot show his commercial work), it was clear that the audience had not yet taken their voyage into DSLR filmmaking as deep as Philip had. His approach to shooting was very personal, and he has an affinity for the products he stands behind. Philip Bloom Workshop shot with iPhone 4 using Hipstamatic Float film and Helga Viking Lens. The focus for the workshop was mainly the Canon DSLR lineup (T2i, 7D, 5DMKII, 1DMKIV), and he made it very clear that Canon was ahead of the game in the Video-via-DSLR department. There were a few GH1 and Nikon users in the crowd, but, for the most part, it was a Canon user base. Philip was very opinionated about the lack of quality on the GH1 (out of the box) and the Sony NEX-5, and the new Sony NEX-VG10 (essentially the same as the NEX-5 but in handycam form factor). There was a lot of talk about codecs and low-light sensitivity which was rounded out with Philip expressing his preference for the Canon 5D Mark II over all the cameras currently on the market. As a 7D and 5D Mark II owner myself, I’ve found that 90% of my kit (lenses, AKS, etc.) was identical to what Philip was using as well. Philip’s preferred lenses are the 16-35mm f/2.8L USM II, the 24-70MM f/2.8L USM, the 70-200MM f/2.8L IS USM II, the 100MM Macro IS USM, 50mm f/1.2L, etc, etc. He suggested buying only L series lenses regardless of owning a T2i, 7D, or 5D MKII which I agree with 100%. This was based on build quality, chromatic and other aberration minimization and their full-frame coverage. For those of us who use Canon EF L series lenses, it was nice to hear Philip declare that the quality of these lenses are to resolve resolution much higher than any video camera lens can achieve, and he has had no issues with them. Some of the best lenses in the world are Canon still lenses. Full disclosure — Philip has several Nikon lenses, a Nikon D3s, Sony EX1, Panasonic GH1, as well as a variety of other cameras. A strong believer in the double sound system, Philip also keeps the Juiced Link 454 and a Beachtek DXA-5D in his kit for reference or shoots — which will fit the bill. His main concern with the single system method is not being able to monitor what the camera is recording and for his piece of mind he prefers an external recorder. Audio bit rate has a lot to do with this as well. His main point is to use what works best for you as long as you have AGC Defeat on the Beachtek or the Juiced Link. For Mics he prefers Sennheiser (as do I). Philip was a sound man back in the day, so it is a subject he is well-educated in with real-world practical experience. For external recorders he stated the Zoom H4 is horrible and it’s better to stick with a Tascam, Foxtex, Sound Devices or Marantz recorder with phantom power and ideally a backup power source. Philip took a portion of the workshop to cover post-production and workflow. His thoughts on it are fairly simple and concise and the defacto standard practice for most professionals. Use the Canon EOS Movie Plugin-E1 for Final Cut Pro and use its Time-of-Day timecode via log and transfer just like P2 or SxS. It’s the easiest way to get footage into your system. You can utilize Magic Bullet Grinder or Squared 5’s MPEG Streamclip if you want batch file copying. Philip prefers the FCP method as it adds Time-of-Day timecode onto your clips which is why most of us use it. A good portion of the workshop was on Time-lapse which featured various vignettes from around the world. Prague, Dubai, Miami, NYC, Bulgaria, etc. Most of these were done with the Canon Timer Remote Controller TC-80N3. With this intervalometer you can adjust start / stop time, length of exposures and the timer can be set for any time from 1 sec. to 99 hrs, 59 min, 59 sec. You can achieve stunning time lapse if you allocate time to watch your camera. Overall, the point of the workshop was to focus on shooting and just getting out there and doing it. Philip’s suggestion to just buy a DSLR camera and stop worrying about what is coming out next was probably the best piece of advice heard at the workshop. Waiting and waiting will not make you any money or get your project off the ground. Technology does not replace talent and you can shoot a good movie regardless of what camera you use. However, having a great inexpensive camera like the 5D mark II or 7D will make your projects more interesting and attract viewers you might not get if shot with a noisy 1/4″ sensor. Philip mentioned he still uses his Sony EX1 and fairly often as it is ergonomically correct for video, and it’s a great camera. DSLR’s are not the one-all be-all solution for all situations. The proper tool for the job might be a 7D or a Varicam 2700. If you are a beginning filmmaker or if you have not yet taken the plunge, I would suggest taking Philip’s workshop when it rolls around again in the Fall. In the meantime, come check out our free Learning Labs held every Wednesday. If you are already in the mix and shooting, the workshop will be fairly redundant but would be worthwhile for networking, meeting new people, and talking with Philip in person. Mike Sutton, Senior Account Manager

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24 Hour Film Race – Boston Winners Announced

The concept of the 24 Hour Film Race is pretty insane.  Late on a Friday night, you’re e-mailed a theme (with a surprise element tossed in),  and you then have approximately 24 hours to write, shoot and edit a final 4-minute piece.  Insane, right?  Challenging, right?  An adrenaline-pumping blast, right?  Yes, yes and yes.  What’s cool about this particular film race is that winners in Boston, for example, go on to compete against winning filmmakers in other cities across the country and in Canada.  The final winners (1 through 20) receive cash and other prizes.  As a result of this cross-country competition, both films and filmmakers get some substantial exposure. Boston’s winners were announced this week, with congratulations going to 1st Prize winner ”I ♥ U” by Neoscape and other runners-up listed in order below: 1)  ”Moving On” by Castparty Productions 2)  “Double Edged Sword” by Mango 3)  ”P.H.O.N.E. 300K” by Electric Shark Dog 4)  ”Pallino” by Bait & Tackle To watch the winning films, go to http://www.filmracing.com/.  It’s not too late to register for film races in Portland (Oregon) and Toronto. Screenings (leading to more winners) will take place in Denver and Seattle.  Winners have also been announced in Chicago, Miami and Minneapolis (in addition to Boston). Lisa D’Angelo Director of Outreach

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Spring 2010 Internship Short Films & Videos

What do cats, secret agents, time lapse, Orson Welles, and the Charles River all have in common? They are all elements in the latest intern videos. Every semester Rule Boston Camera challenges our interns to produce a short film or video with just one catch — they must creatively incorporate Rule Boston Camera in some way into their final videos.  See them on vimeo:  http://vimeo.com/channels/InternAlley Matt Jung, Quality Control and Logistics Manager