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

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

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

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

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

Rent it for 25% off the regular rental rate of $695/day in June! Contact Rentals by email or phone at 800-rule-com for details, including multi-day rates.
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Meet the Flexible + Foldable Aladdin Fabric-Lite 350W

The Aladdin Fabric-Lite 350W is our newest LED 3×3 panel that can be folded and flexed.  I’ve found that the best part about this light is its flexibility — because it’s made of fabric, it can easily be folded and packed into a backpack. This makes it easy to take pretty much anywhere.

The Fabric-Lite  can be mounted onto its frame with a diffuser and grid, or you can simply hang it wherever you need it. There are literally NO restrictions for where this light can go…

I took the Fabric-Lite on a recent shoot to NYC, and it was the perfect choice. I folded and packed it away in my camera bag for traveling, and when it came time to use it, I tied it up high around a pillar to use as a fill light.

Another fantastic feature about this light is that you are not restricted to AC power. It comes equipped with two gold mount plates for your battery power needs, which makes it easy to use. The light has a color temperature range of 2900 to 6200k with a CRI of 97.

Interested in renting the Aladdin Fabric-Lite 350W? Contact Rentals by email or phone at 800-rule-com.

Alex Lopez, Quality Control Technician

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Holiday Hours: Closed 12/31 and 1/1

We will be closed New Year’s Eve and New Year’s Day, December 31st and January 1st to ring in the new year with family and friends. Please reach out to us at our main number (617-277-2200) with any emergencies. From the bottom of our hearts, we thank you for your business in 2018 and for allowing us to support every type of production — from passion projects to feature films — we love our job and we love supporting you in yours!

We’ll be back on Wednesday, January 2nd. Happy New Year and cheers to 2019!

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POSITION FILLED – Seeking Dynamic, Production-Savvy Rental Agent

This position has been filled. Thanks to all who applied!

Rule Boston Camera is looking for a dynamic, production-savvy person to join our rental team — perfect candidates should be comfortable talking with our clients about the latest cutting-edge cinematography equipment.

Our rental agents form long-term relationships with our clients who are actively producing some of the best content here in New England and around the world.

If production and camera technology are your passions, please send a resume and letter of interest to General Manager, Brian Malcolm – malcolm@rule.com.

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Fully-Equipped Services: Monitor Calibrations, Custom Training, Shared Storage and More

You may only know us as a production equipment rental house. What you may not know is that we are a fully-equipped and knowledgable service house, too. Whether you are looking for monitor calibrations, custom training sessions, consultation, equipment maintenance, or shared storage check-ups and improvements, we’ve got your back! All services are available on an a la carte basis, however, we also offer one of the best-valued service programs in the industry today. Rule+ enables you to access all of our services whenever you need them.

What is Rule+ and What are the Benefits?

 

Rule+, our customized pre-paid service spending program, is built to provide the highest level of assurance to agencies, in-house and external production companies, owner-operators, and post-production houses. Available in four service levels — Bronze, Silver, Gold, and Platinum — Ruleensures that you are able to extract the maximum value from your gear with minimum hassle.  Not only does each service level enable you to use any of your pre-paid credit against any of our services at a generous discount, we also throw-in many value-added incentives such as periodic check-ups, priority tech support, FREE monitor calibrations, rental credits, and FREE local delivery for our Platinum clients.

“EXPERT HELP FOR CONSISTENT OUTPUT!”

Who uses Rule+? 

Every organization, large or small, can take advantage of Rule+ benefits as any of our plans can be customized to suit any company size. Our current clients include leading advertising agencies, leading local and ivy league academic institutions, and in-house agencies with global brand organizations, as well as Boston’s premiere sports teams.

Justin Peterson, Director, Digital Content Production at the Boston Celtics explains:

“Expert help for consistent output! As we grew and began mixing and matching cameras and monitors, we noticed inconsistencies. Some monitors ran red, while others ran blue. Our Sony ENG and Canon C-line cameras didn’t mesh well. Rule+ allowed us to get expert help in painting our cameras, and properly calibrating our monitors for consistency. We no longer question who’s monitor is the right color. Rule+ was an easy way for us to ensure we had the necessary resources included in our budget so we could focus on our job; producing high quality content”. 

 

Contact us today to see which Rule+ plan best suits your needs!

Dan Gruenpeter, Business Development Manager
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Quasar LED Lighting Tools to Rent or Buy

Quasar: one of over a thousand known extragalactic objects, starlike in appearance and having spectra with characteristically large redshifts, that are thought to be the most distant and most luminous objects in the universe.

Unfortunately, we don’t have “the most luminous objects in the universe” in our inventory but we do have a fleet of Quasar Science products available to rent and buy. Quasar offers a wide variety of LED lighting tools and many of them can be found right here at Rule Boston Camera.

Low profile, self ballasted, dimmer compatible, energy efficient, 95+ CRI, flicker free, 25,000 hour lifetime, and much more are just a few of the many features in the Quasar line-up of products.

We encourage you to stop by the shop, and check out these lights for yourself. We’ve got a bunch of new fixtures on the horizon for both rentals and sales in addition to what’s already in our rental inventory (Crossfade LED Kit, Kino Quasar 4ft/4 Bank Fixture) and in our Production Outfitters Expendables Store.

Another resource is our IN THE SHOWROOM video on the A-LED and Q-LED Crossfade lighting tools. Click here to watch, and reach out with questions.

Dylan Law, QC/Logistics & MoVI Tech

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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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Mixing Paint: The Phantom Flex4K

As with all of their products, Vision Research has created yet another high frame rate monster. Shooting RAW or ProRes, the Flex4K can crank all the way up to 938fps at true 4K — and almost 2,000fps in HD. With all that power under the hood, the question now becomes: What are we going to shoot?! It took us a while to come up with a subject that would do the camera justice. Eventually, we had it all planned out – we were going to see if mixing some paint with a huge speaker would produce some cool results. (It did.) First, we knew we needed light. Lots of light. The mid-day sun was our best bet, so we set up outside. To hold our subject, we set up a basic wooden platform, making sure to keep a wide enough base to catch any paint shrapnel. We hooked our speaker up to a receiver, and fed it various tones from an iPhone — apparently, yes, there is an app for this. With our stage set, we then turned to camera settings. We decided that shooting the true 4K image would be best – 4096 x 2304 at 938fps. If we had chosen a standard UHD 4K recording, we could have shot even faster. For paint, we went with a water based children’s finger paint – in hopes that maybe we could salvage the speaker, and our clothing. The water based paint would also mix better – a latex paint would mix slower, but may have looked cool as colors intertwined more. We’ll give that one a shot next time. We decided to shoot to the ProRes codec, rather than RAW, once we saw the image the camera gave in the standard rec709 color space. The final video color has not been graded in any way, all the footage is straight off the camera. While the RAW files are wonderful, and fantastic for grading – it can become somewhat burdensome with ever shrinking hard drive space. We found the colors to be awesome in the 709 gamma, and very reminiscent of ARRI. There is also the option for LOG. For glass, we chose the Angenieux 25-250, partly to keep our gear out of paint’s way – but also to take advantage of the beautiful lens compression you get on the long end. The focal plane wasn’t too shallow at T4, but the added compression at 100mm and above really brought the image alive. After the shoot, I loaded the ProRes files into Premiere, and we were exporting soon thereafter. For such a high data rate, specialized camera, the workflow all around was relatively simple. Watch the final results: https://vimeo.com/158513325   The Phantom Flex4K is available to rent here at Rule – come check it out! -Alex Enman, Engineer, enman@rule.com

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The Sony a7s: Full Frame, Low Light Monster

Once again, here we are with me talking about a new small camera that everyone in the indie shooting world seems to be going bananas over! Similarly to when the GH4 launched (of which you can read my latest blog post by clicking here) — there has been an extreme amount of chatter about this new Sony camera. Is it worth the hype? Upon launch, it was touted as the end-all-be-all of DSLR cameras (yes, I know it’s not technically a DSLR!), and a direct competitor to Panasonic’s GH4. Both cameras are mirrorless, seem to have more than a few nods to video users, and come in at a fairly affordable price point. After those features, however, the similarities stop. The two cameras are very different animals — both with their own strange strengths and weaknesses. Family Tree The a7s succeeds two other cameras in the Sony lineup that, at a glance, seem the same. The a7, and a7r. The design of these cameras comes from almost a rangefinder idea — a small, street photographers secret weapon. And for stills, no one was going to argue the quality. I’m sure even Fuji was taking notice. When it came to video, however, the quality and feature set wasn’t anything to write home about. While the a7r matched that of the 5dIII in most instances, Canon had already bundled up the market years ago. The a7s, though, has built upon this small form factor and has pushed the video feature set to its ends. It continues with the full-frame-sized sensor, but in this case it seems to be an entirely new chip. Low Light While I’m not in love with the form factor of this tiny camera (I’ve got big, dumb hands), the image quality is staggering. Particularly, with its low-light capabilities. The color and detail data it is able to pull from near total darkness at ISO’s of 20,000 and even 50,000 is unlike any camera I’ve ever seen, in any market or price range. This isn’t just a low-light camera, it’s a night-vision camera. Take a look at this great test from James Miller — that blue sky you see is actually a night sky. Those green bushes? Dark splotches to the human eye. SLOG 2 & Grading Now, we aren’t all nature photographers who need to see into the dead of night all the time — so upon getting the camera in my hands, my first tests were tried and true charts. I was overjoyed to see SLOG 2 and S-Gammut profiles included in the kit. This camera is cheaper than a 5dIII, but it’s now including a log profile that was at one time a paid upgrade to the F3 camera?! Count me in! I set up my chart, brought my middle grey down to 35%, and threw on my SLOG2 luts. You know, the ones I’ve been using for the past 4 years! And wouldn’t you know, it looked… terrible. What?! What happened? Why were my shadows so grainy and noisy? I thought this was a low-light monster! I couldn’t understand it. After some more research and testing, I figured it out. SLOG 2 on the a7s rates the native ISO of the sensor at 3200 ISO – as opposed to say 2000 on the fs700 and f5, or 1250 on the f55. As this is a different sensor, it is handling its color science differently. I found that it is so light sensitive, the sensor prefers to be fed LOTS of light – to the point of seemingly over-exposing the image. I found that middle grey likes to live around 75%, rather than 35%. As the camera only provides zebras and a meter internally for exposure help, it’s perhaps easiest to set your zebra level to 95% or 100%, and ride the high end until right before clipping. Bringing the color and gamma down works like a charm, and in no time I had the chart performance I had expected: So perhaps this isn’t the same old same old SLOG 2 I had assumed – but once I figured out the optimal settings, I was very impressed. The dynamic range on this camera is very high, around 14 actual usable stops. That gets into high-end cinema camera territory. 4K Recording & XAVC-S The last major feature of the a7s is the 4K external recording option. Now, first off, the a7s is using a brand new “consumer” version of the very popular XAVC codec. Internally, this high bitrate and smart compression is very malleable, especially for being at its base an h.264 MP4 file. It sports a very fiddly micro-HDMI port through which it will send 4K, 4:2:2 uncompressed video. The only thing headed to market soon that will handle this in a portable way will be the new Atomos Shogun – delivery date is still TBA. I find time and time again that users can get hung up on external recording solutions. One should always push their internal codecs as far as they can to see where the line in the sand is going to be drawn, and I find XAVC-S and SLOG 2 to be a 1-2 punch when it comes to color grading. Here is a very pretty video from vimeo user Florian Knab — check out how even the 120fps 720p looks great in a web delivery situation. Final Thoughts With SLOG 2, XAVC-S, a full-frame sensor, frightening low-light sensitivity, and an easily adaptable E-Mount – I think the a7s is a great addition to the indie market. I wish it were able to record 4K internally and high-speed above 60fps at 1080 like its mirrorless GH4 counterpart – but even without these features, it’s a pretty fantastic little camera. If you’d like to learn a bit more about the a7s, my post workflow, and other ways to get the most out of it, be sure to check out my Learning Lab here at Rule Boston Camera on 9/24 at 10am.  If you can’t make it in person, you’ll find it on our Learning Lab Vimeo Channel afterwards. -Alex Enman, Engineer, enman@rule.com